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Full text of "Motion Picture"

Book_ 



Goipg]itN?_ 



COEffilGHT DEPOBIC 



Scanned from the collections of 
The Library of Congress 



AUDIO-VISUAL CONSERVATION 
at The LIBRARY .f CONGRESS 









JL 

"J 



Packard Campus 

for Audio Visual Conservation 

www.loc.gov/avconservation 

Motion Picture and Television Reading Room 
www. loG.gov/rr/mopic 

Recorded Sound Reference Center 
www.loc.gov/rr/record 



Sctare 




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(omm ander Byrd 

The love Life 
MfliiePreTOsL 



^vm it fade ? ^vm it shrink ? f i 



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Let the sales>vomaii in the smart 
shop tell you Tvhy this care is safe 



Whenever you buy anything especially 
delicate or costly — a piece of cobwebby 
lingerie, or a gay, fine sweater — ask the 
saleswoman how to wash it. 

The two important precautions she 
will advise are these: "Use lukewarm 
water" and "Use Ivory Soap." (Among 
thousands of salespeople and buyers in 
leading shops of 30 cities, unprejudiced 
inquiry reveals that Ivory is outstand- 
ingly first choice by far as the safest 
soap for silks and woolens.) 

Let several examples of actual recom- 
mendations given recently to customers 
in hundreds of the finest and largest 



stores of the country tell you why sales- 
people everywhere advise Ivory: 

Their own words 

For silk underwear: "Use Ivory Flakes. 
It is very mild and won't fade the gar- 
ment. Unfortunately some other soaps 
cut and rot silk in time." {Chicago — a 
leading department store) 

For printed frocks: "Ivory is the 
purest soap you can buy and if I were 
you, I shouldn't take a chance with 
anything else." (Boston) 

For fragile sweaters:" Ivory is so mild 
it cannot harm fabrics." {Netv York) 



Naturally a soap that is used to bathe 
tiny babies in leading hospitals is e.ctra 
safe for fine silks and woolens . . . i 
unless a fabric will run or shrink in pure 
water alone, salespeople say with con- 
fidence, "You can wash it safely 

^^^^'y* PROCTER & GAMBLE 

FREE ! A little book "Thistledowr 
Treasures— their selection and care," 
swers .such questions as: Can it be washed: 
Will it shrink.^ Will it fade.' How can { 
whiten yellowed silk and wool.' Simply send 
a post card to Winifred S. Carter, DeptJ 
VU-29, P. O. Bo.x 1801, Cincinnati, Ohio. | 



Among salespeople in the finest 
stores of 30 leading cities. Ivory 
is everwhelmingly first choice as 
the safest soap for fine silks 
and woolens. 




IVORY 



99 '•Vice % PURE 



KIND TO EVERYTHING IT TOUCHES 



.^ 



EVERYBODV^ 

TALKS in this (^ ^ 
FIRST ALL-Talking W "m 
FARCE'COMEDY-^ S^ A 






There's a thrill a minute in 
the action and a laugh every 
other second in the side- 
splitting dialog written by 
Frederick H. Brennan and 
Harlan Thompson ! 

WILLIAM FOX, in this newest 
Movietone Feature, introduces a 
new technique on the screen 
• . . don't miss this all- 
talking farce comedy when 
it comes to your favorite 
motion picture theater! 



Qhe 
GHOST 
TALKS 

and so ^ 
does the 
Screen 
in this 



lafesp 



MOVIETONE 




Directed in dialog by 

LE1VI8 8EIIiER 

Charles Eaton Helen Twelvclrees Earle Fox CariiBel ITIyei-s 



ys 



4/drvel of this 
y|/arvelousAge 




SEEonrfHEAd 

Vitaphones 

Supreme Dramatic Triumph 

DOLORES COSTELLO 
in*NDAHS AkK" 

M//M GEORGE o'bRIEN 

Mightiest entertainment achieve- 
ment since the birth of Motion 
Pictures! Awe-inspiring — heart- 
gripping^unprecedented! See and 
hear "NOAH'S ARK" 



Jk^^ 



ieehed-Pehfected- 

Given to the World by V/ARNEnBuos 

Vitaphone is a scientific achievement — farTeaching in its 
influence on the human family. It immeasurably widens the 
sphere of knowledge and enjoyment. Brings the whole 
world of SOVND and ACTION to all people everywhere. 

Through Vitaphone, the foremost entertainers of the age 
re-live before you — they act, talk, sing and play — like 
human beings in the flesh! 

Remember — Warner Bros, pioneered the talking picture. 
Warner Bros, perfected the talking picture. Warner Bros. 
Vitaphone has PROVED its nation'wide success and tri' 
umph in hundreds of leading theatres from Coast to Coast. 

Make no mistake. See and hear Warner Bros. Vitaphone. It 
will confirm your conviction that here at last is the life* 
like talking picture — the marvel of this marvelous age. 



IF ITS NOT A WARNER. PI CTU flE...ITS NOT VITAPHONE 



u —■ t ^>> I ^ I 




Volume XXXVII, No. 1 



February, 1929 



Features in This Issue 



Ruth Ric 



.Doroth\- Manners 



. Dorothy Donnell 33 



.Gladys Hall 54 



iert Ennis 



Cover Portrait of Marian Nixon by Marland Stone, especially created by Russell Ball 
Commander Byrd Rules Out Sex 

There's nol a vamp hi the carload of films i::: < 

WTiat They Talk About, And How 

The conversational topics of Phyllis Haver an.: _,: . , .' 'ke same 

All The Brothers Were Valiant. ". 

Sam and Al and Jack and Harry have never repudiated their o'j.-n declaration of independence 

Rubber - Stamping The Stars 

Once Hollywood classifies you, you stay classified 

Meteor Called La Marr 

The scintillating rise and sickening-tragedy of the woman who was too beautiful 

The Man No Woman Can Vamp Dorothy (Talhoun 

You know him -well, though not by his real name of Samenicgos; and there's a reason for his resistance 

The Love Life Of Marie Prevost Ruth Biery 

Like" Kiki" she says you can never lovejhe same man twice 

The All-Star State Dorothy Manners 

Texas is the mammy of many of the screen's greatest personages 

Countenancing Mr. Colman . Dorothy Spensley 

Ronald is asked how he got that way 

Hollywood's Pet WTioopee Marquis Busby 

The best part of a premiere showing is outside the theater 

Unmysterious Mr. Brook Cedric Belfrage 

What can be done with a man who won't even damn the talkies? 

She's Young, And She Can Prove It Helen Louise Walker 

Lila Lee was Wallace Reid's leading woman at fourteen 

Your Neighbor Says — Walter Ramse\- 

C. D. Kimball compares Hollywood as it is to what his home town Aberdeen, South Dakota, thinks it is 

The Lowe-Down On The Talkies Doroth\- ^Lanners 

They are for everyone concerned, according to Eddie, very good 

Shopping With Billie Dove Marie Conti 

First of a series revealing the practical dress-secrets of famous actresses 

Back In The Days When — Ruth yi. Tildesle>- 

V'oH Stroheim's salary was three dollars a day, and Marie Prevost was timid 
She's A Polly Good Fellow Doroth>- Manners 

The best beloved woman in Hollywood deserves to be 



Colin J. Crockshank, Art Director 

Motion Pictu 
Inc. Entered a. 
3. 1879; additi 



Dorothy Doxxell C.\lhoun, Western Editor 



. js second class matter 

_^ nount Building. 1501 Broadway 

LIGATIONS, Inc. Single copy 25c. Subscriptio 




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508 S. Dearborn Street, Chicago, Illinois 




FIFTEEN-DOLLAR LETTER 

Old Favorites Best! 

BLACKPOOL, ENGLAND— I hope you 
will allow me to express in your columns 
my entire endorsement of your article, " The 
Port of Missing Stars," in the March issue. 

Cohn is the first film magnate to solve 
the great riddle, "What Does the Public 
Want?" And the answer is, such amusing, 
unaffected films as "Sally in Our Alley," 
"Stranded," and "So This Is Love!" 
featuring old favorites. In these, I ad- 
mired the charming Shirley Mason more 
than ever. 

We fans aren't fickle! So long as we see a 
star, locking and acting as before, with good 
story, direction, and support, we continue 
paying to see him. 

Raw actors are as indigestible as raw 
food, they lack technique, and their names 
have no drawing power. I can think of no 
more painful sight than callow, unprepared 
youths grappling with star parts. Experi- 
ence and training are vital to actors, and 
filling a cast with people who have none is 
pure folly. 

Cohn's scheme fills the most serious void 
in the film business, and it reflects sadly 
upon the gumption of other Hollywood 
cigar-chewers not to have thought before of 
this ideal way of making pictures. 

Cohn has made good his claim by pro- 
ducing several sound films, he has brought 
the fans' reputation from under a cloud, and 
has enabled those stars to make a come- 
back, who should never have qualified for 
that ignominious feat. 

Cohn merits the gratitude of both actors 
and audiences, I should love to give him a 
medal, but, failing that, I wish him, and 
your splendid magazine, every sort of good 
luck. Barbara Fletcher. 



wishing I might hear them speak. Now my 
hopes are realized. Vitaphone was born 
and my enjoyment is twofold. Let no one 
say "Talkies" are a passing phase. I 
scarcely think so. Talkies are here to stay. 
Many friends of mine, myself included, are 
not in a position to pay high prices to visit a 
legitimate theater and to those like us 
theater-starved souls, talkies are as manna 
fro.m heaven. We see the actors and hear 
them. Naturally, there are many improve- 
ments to be made yet in the device, but as 
time goes on we shall see the lasting results 
of those improvements. 

One hears on all sides arguments for and 
against "Talkies." Those against them cry, 
"Give us the restfulness of the silent 
screen." Personally, I never go to the 
movies for rest, I go for stimulation. I have 
heard others say they cause too much 
energy to the faculties. Well, they were 
given us to exercise, and without it, we 
would develop into a race of dumbbells. 

I guess I have heard all the "Talkies" to 
date and I cannot say I ever had to over- 
strain my mentality to see and understand 
what was before me and what was said. 
The ear and the eye were in sympathy at 
all times. The first attempt of audible pic- 
tures was discordant but each succeeding 
one has shown vast improving development, 
so, swiftly and surely the entertainment 
world is going to be revolutionized. Yester- 
day a dream and today a reality, the far 
sighted vision of Warner Bros, has achieved 
this accomplishment — "Pictures that talk 
like living people," which is their own 
slogan. Mrs. Lucy Higgins. 



TEN- 
DOLLAR 
LETTER 

Talkies Sat- 
isfy a Legit- 
imate 
Hunger 

WATER- 
TOWN, MASS. 
— What a grand 
and glorious 
feeling when 
dreams come 
true! For years 
I've attended 
the movies on 
an average of 
twice a week, 
seen my favor- 
ites, and re- 
turned home 



Prizes for Best Letters 

Each month Motion Picture will 
award cash prizes for the three best 
letters published. Fifteen dollars will 
be paid for the best letter, ten dollars 
for the second best, and five dollars 
for the third. If more than one letter is 
considered of equal merit, the full amount 
of the prize will go to each writer. 

So, if you've been entertaining any 
ideas about the movies and the stars, con- 
fine yourself to about 200 words or less, 
and let's know what's on your mind. 
Anonymous communications will not be 
considered and no letters will be re- 
turned. Sign your full name and ad- 
dress. We will use initials if requested. 
Address: Laurence Reid, Editor, Motion 
Picture, Paramount Building, 1501 Broad- 
way, New York City. 



FIVE-DOLLAR LETTER 

A Sound Booster! 



N EW OR- 
LEANS, LA.— I 
hope my letter 
will be pub- 
lished to tell the 
people of the 
world of our 
talking pictures. 
I read Motion 
Picture each 
and every month 
and I can see 
the public are 

talking pictures. 
I am thankful 
that I am one of 
the majority 
thatpreferstalk- 
ing pictures. 
Why? My rea- 
sons are, auto- 
mobile models 
change, style in 
{Continued on 
page 8) 



/^you UAD 
fo be BAD 

could uou inske 

GOOD? 





John nieCcrmick, ammtt 
COLLEEn / 



V 



HCORf 




SmTHCTic Sin 



Wi/liam A. Seiter 



procUictioft 




Have you a talent for turpitude? 
How Bad could you be — if you 
really tried? 

Suppose someone told you you 
HAD to be BAD to be Famous . . . 
Could you become a really first- 
class Sinner in your spare time? 
Betty Lee picks Broadway as her 
Co-respondence School. . . 
But right on the edge of evil — at 
the very crossroads of crime — a 
farcical fate detours her off the 
Easiest Way! 

A^ir&t national Picture v 

Takes the Guesswork Out of "Going to the Movies" 




M won first prize 

of f 100" 

"TAr^f weeh ago I competed in a fhotofUy cnnttit . . .The 
course belong to the Palmer plan." 

"... I have been engaged bj Graf Brothers Productions to 
write tzuo stories for immediate production ...any 'success 

The Palmer Institute can t.ake that talent of 
yours and make it produce its utmost. It will 
teach you the professional touch in writing — 
either photoplays or short stories. Charles Ken- 
yon, author of the Iron Horse, says: "The Pal- 
mer Institute is better equipped to teach the 
screen story than any other institution outside 
of the motion picture studio." 



PALMER INSTITUTE OF AUTHORSHIP 

Dept.9P, Palmer Building, Hollywood, California 

I am interested in: D Short Story Writing O English 

and Self-Expression D Photoplay Writing 



Letters to the Editor 

{Continued from page 6) 



YOU 




Subscribe to 

Motion Picture 

$2.50 a year 

DO YOU REALLY KNOW WHAT HAPPENS 

ma WEI 

An,.,i.,» •tartUng FACTS that Science has actually 
ind PROVEN _about AFTER-DEATH and 

'" HoHy wood, Calif : 



dressing changes, babies change into men 
and women, day into night, and God made 
this world to go forth. We don't want the 
same things in life. I think talking pictures 
are wonderful, and if the people would read 
and study how the talking pictures are 
made and what a grand and wonderful in- 
vention this means to the world, I am sure 
they would appreciate talking pictures. I 
only hope that everyone that doesn't like 
talking pictures will see "The Singing 
Fool," and then pass his opinion on talk- 
ing pictures. I am for it and anything this 
world is trying to do to entertain us. And 
especially when it comes from our screen 
people we love,' this world needs plenty of 
entertainment and we must get it through 
them, they are so different from anything 
so far so good. In years to come may the 
producers find other ways of making pic- 
tures. Good luck to them. You shouldn't 
sit or stand in one place all the time. You 
get tired, so does the world, just keep 
moving and thinking what will happen 
next. Mrs. F. R. Cabal. 



Talk and Baby Talk! 

OAKLAND, CALIF.— Have the movies, 
after years of hard and tiresome labor, gone 
to the hounds? These talking movies. 
Talking, did you saj'? About two-thirds of 
the time there is nothing but squeaking and 
screeching. And the poor actors.. After 
long years of work, what's going to become 
of them? Most of the popular screen stars 
can act, yes, but throw out their voices and 
use voice expression? No. 

How would it be if in Emil Jannings' late 
picture, "The Patriot," everyone in the 
film was speaking English? It would ruin 
the theme entirely. 

Imagine a beautiful tropic night, with 
the moon shining upon the rolling waves 
in the background. Palm trees swaying in 
the south wind. A handsome sailor folding 
in his arms a native beauty. Instead of the 
theater organ playing a sweet melody, the 
gent pipes up and says: 

" D'ya still love me, baby?" Instead of a 
soft cooing answer from a tropic beauty's 
lips: 

"Coitanly, my great big sugar daddy." 

Bah! B. H. 

All for All 

NEW YORK, N. Y.— No, no, no, people 
cry, we do not want "talking" pictures. 
Yet without them, how can one enjoy our 
own Al Jolson to the best advantage? I, 
myself, did not at first care very much for 
the so-called "talking" pictures but after 
having witnessed a performance of "The 
Singing Fool" I am ready to uphold any 
Warner Brothers' Vitaphone productions. 

Where, and how else, could the American 
public have seen and heard that most 
adorable of child actors, Davy Lee, were it 
not for the Vitaphone? The incomparable 
Fannie Brice? Ted Lewis? and numerous 
others. The bad feature In this device, and 
a very serious one, is, that sitting in the 
first twelve or fourteen rows in the or- 
chestra, the sounds from the Vitaphone are 
much too strong. One is almost deafened. 
If this cannot be made lower for fear people 
in the balcony will not be able to hear, why 
should the prices in the orchestra be higher 
than those in the balcony? 

Before closing, I should like to say that 
every movie fan, man, woman or child, that 
enjoys real art, cannot and should not afford 
to miss America's foremost black-face come- 
dian, Al Jolson, in his greatest triumph," The 
Singing Fool." 



Good luck to "talking" pictures and my 
heartiest wishes for still greater improve- 
ments. Rose Root. 

Re the Talking Nuisance! 

BARRINGTON, RHODE ISLAND— 
In the December number of Motion Pic- 
ture you printed a letter, written by 
M. H. Shryock, asking why people object 
to others talking during a movie. I would 
be glad to be the one to tell M. H. 

In the first place people generally go to 
a movie either to relax or because they ex- 
pect to enjoy the picture. To a certain 
extent, the talking of anyone near them dis- 
tracts their attention from the picture; not 
enough to keep them from following the 
play, but enough to annoy them. 

In another instance you may not care 
for the player, M. H., and comment on the 
acting and appearance; while the person 
listening may consider the actor or actress 
very good and be irritated by your criti- 

I have had just the same feeling, and just 
as you would, hated having my favorite 
actor or actress talked about unflatteringly. 
Have your own opinion if you like, but 
don't air it in motion picture theaters or 
talk incessantly through a whole program; 
for there are people who would j ust as soon 
not have to listen and would enjoy the 
picture better if you didn't talk quite so 
much. Barbara Sessions. 



Interesting, Not Realistic 

PAWTUCKET, R. I.— The story In the 
November issue about "College Yells" by 
Dorothy Manners was (in plain English) the 
bunk. What kind of a story would it make if 
the moving pictures made one about studious 
25-year-old students instead of fair co-eds. 
There would positively be nothing amusing 
in a picture if the girl did not sneak in the 
locker-room, yell from the grandstand, etc. 
And if the hero was not carried away on the 
shoulders of the football men, well, I don't 
know what to make of it! The idea! I 
suppose the colleges object because people 
are getting a wrong impression of college. 
Well, what of it? Most modern people 
know that college is not as frisky as it is 
painted. So why be so particular? 

And as for the "Talkies," they're terrible! 
Why it's awful to go in a theater and hear 
noises from I know not where. Irene Rich 
played in a short selection, "The Beast," 
and it was very foolish and unnatural. The 
quiet movies for me in the future — if — 
there are any left. Virginia Clark. 



For Quiet Blessedness 

MOOSUP, CT.— Please, please don't do 
too much with talking pictures! Why? 
Because everywhere I go someone is play- 
ing a radio. If I stay at home, it is the same. 
There are two above me and we have one 
ourselves. It is true that it is educational 
and wonderful but continuous sound is 
wearing on the nerves. 

I enjoy the cool calmness of the silent 
drama. The music which accompanies it is 
subdued and I just rest and relax. The few 
talking pictures that I have heard are full of 
thin, unreal voices. I have been so dis- 
appointed! I realize that the thing is just 
in its infancy and will improve but don't let 
these talking pictures crowd out our old 
silent drama. We, tired housewives and 
mothers, will have no place to go to escape 
the noisiness of the. world without them. 
{Continuued on page 120) 




Do Unseen Hands 
Keep You Dumb . . 

When You Ought to Talk? 

How often have you wanted to talk, but held back, silent, because you felt 
unequal to the other people present? How many times have you passed up, 
or avoided, the chance to talk in public— before your business associates, your club 
or lodge, because of your fear of stage fright? Are you afraid of your own voice ■ 

your possession? And yet you might be surprised to hear that many of the most 
brilliant public speakers we have today felt exactly this way— before they learned 
how to develop their "hidden knack" of powerful speech— a knack which authori- 

you, too, have in you the power of effective speech— which, if unloosed, would be 
almost priceless to you in a social or business way. Find out if you have this 

Discover These Easy Secrets 
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HOTEL 

FORT SHELBY 

Lafayette and First 
DETROIT 

JTotel Fort Shelby is favored by 
those whose standards of Uving 
aemana in hotels the highest de- 
gree of comfort, convenience, and 
quietude. Here, with all down- 
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Guests arriving by motor are 
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Maynard D. Smith, President 
J. E. Fbawley, Manager 




By MARION MARTONE 



Adoree, Renee — playing in The Pagan — Met 
L Goldwyn-Mayer Studios. Culver City, Cal. 
Alvarado, Don — playing in The Apache — Colu 
bia Pictures Corp., 1408 Gower St., Hollywood, Cal. 

Arlen, Richard — • • ■ 

Paramount Studios, ; 
Cal. 

Armstrong, Robert — recently completed The 



Sea— Metro-Goldwyn-Mayer Studios, Culver City, 



wood, Ca.. 

Astor, Mary — playing in New Year's Eve — Fox 
Studios, 1401 No. Western Ave., Hollywood, Cal. 



Street — Paramount Studio 
Hollywood, Cal. 

Banky, Vilma— playing in Chilis— Fifth . 
-amuel Goldwyn Productions, 7212 Santa Monica 
Blvd., Hollywood, Ca 

"mSi"; 

Ave., Hollywood, Cal. 

Barrymore, Lionel — recently completed The 
Mysterious Island — Metro-Goldwyn-Mayer Studios, 
Culver City, Cal. 

Barthelmess, Richard — playing in Weary River 
— First National Studios, Burbank, Cal. 

Basquette, Lina — playing in The Younger Gen- 
eration — Columbia Pictures Corp., 1408 Gower St., 
Hollywood. Cal. 

Beery, VVallace — playing in^ Tong _ War— Para- 



Worn .4 Mge;— Paramount Studio; 
St., Hollywood, Cal. 

Chaney, Lon — playing i 
Metro-Goldwyn-M '"' " 

Chaplin, Charl 
Studios, 1420 La B . _ __ 

Collier, William Jr. (Buster)— playing in Squads 
i?!«/i«— Tiffany-Stalil Prod., 4516 Sunset Blvd., 
Hollywood, Cal. 

Collyer, June— recently completed Red Wine- 
Fox Studios, 1401 No. Western Ave., Hollywood, 
Cal. 

Colman, Ronald— recently completed The Rescue 
— Samuel Goldwyn Productions, 7212 Santa Monica 
Blvd., Hollywood, Cal. 

Cooper, Gary— pla>-ing in Thj Wolf Song— Para- 



— Columbia ,, - .-- _ . . _^ 

Hollywood, Cal. 

Costello, Dolores — playing in Alimony Annie — 
Warner Bros. Studios, 5842 Sunset Blvd.. Holly- 
wood, Cal. 

Crawford, Joan — playing in Dream of Love — 



Metro-Goldwyn-Mayer Studio; 



Samuel Goldwyn Produ 
"Ivd., Hollywood, Cal. 

Barrymore, John — playing in The King of the 

' .,..-■ g Studios, 1041 N. Formosa 



it Studios, 54s I Marathon St.. Hollywood, Cal. 



Bennett, Belle — playing in Reputation — Tiffany- 
Stahl Studio, 4S16 Sunset Blvd., Hollywood. Cal. 

Blue, Monte — playing in TheGreyhound Limited — 
Warner Bros. Studios, 5842 Sunset Blvd., Hollywood, 
Cal. 

Boardman, Eleanor — playing in SheGoes To War 
— United .Artists Studios, 1041 N. Formosa Ave., 
Hollywood, Cal. 

Boles, John — playing in The Desert Song — Warner 



— Paramount Studios, 5451 Marathon St., HoUy- 

Boyd, William — plaving in Leathernecks — Patlie 
Studios, Culver City, Cal. 

Brent, Evelyn — recently completed I nterference — 
Paramount Studios, 5451 Marathon Street, Holly- 
wood, Cal. _ . 

Brian, Mary — play 



Studios, 5451 Marathon St., Hollywood. Cal. 

Brice, Fannie — recently completed My 
Warner Bros. Studios, 5842 Sum ' '^ ' " ' 



■I Blvd., Hollywood. 



Bronson, Betty — recently completed She Kne 



Brooks, Louise — playing in Redskin — Paramount 
Studios, 5451 Marathon St., Hollywood, Cal. 
Brown, Johnny Mack- 



Carol, Sue— recently completed Chasing Through 
Europe— Vo^ Studios, 1401 No. Western Ave.. 
Hollywood, Cal. 

Carroll, Nancy — recently completed The Shop- 



\J S 



;ntly completed The Rescue — 
" eductions — 7 2 1 2 Santa Mon- 



Dane, Karl— recently completed All At Sea— 
Metro-Goldwyn-Mayer Studios, Culver City, Cal. 

Daniels, Bebe — playing in What A Night — Para- 
mount Studios, 5451 Marathon St., Hollywood. Cal. 

Davies, Marion— playing in The Five O'clock Girl 
— Metro-Goldwyn-Ma! - • 



— FBO Studios, 780 Gower St., Hollywood, Cal. 

Del Rio, Dolores — recently completed Revenge- 
United Artists Studios, 1041 No. Formosa .^ve 
Hollywood, Cal. 

Denny, Reginald— plaving in The Mounted Poiict 



.lal Studios, Burbank, Cal. 

Duncan, Mary — playing in Through Different 
—Fox Studios, 1401 No. Western Ave., Holly- 



Man— Metro-Goldwyn-Mayer Studio 



Fairbanks, Douglas — playing in The Iron Mask — 
Pickford-Fairbanks Studios, Hollywood, Cal. 
Farrell, Charles — recently completed Our Daily 
Bread— Fox Studios, 140I No. Western Ave., Holly- 
wood, Cal. 

Fazenda, Louise— T/ie Desert Song— Warner Bros. 
Studios, 5842 Sunset Blvd., Hollywood, Cal. 

Ferris, Audrey — playing in Fancy Baggage — 
Warner Bros. 'Studios, 5842 Sunset Blvd., Holly-vvood. 



Cal. 

Foxe, Earle — playing 



—Fox Studios, 



.Studios, Culver 
City, Cal. 

Gilbert, John — playing in Thirst — Metro-Gold- 

wjm-Mayer Studios. Culver City. Cal. 

' Holb-wood, i 



Haines, William— plavinj 
— Metro-GoldwYU-Maye 
Cal. 

Hale. Alan— recently completed The Spieler— 
Pathe Studios, Culver City. Cal. 



LetNeHelpYOU 

be a Success in the 

Talkin g Movies 



"The talking movies open up many oppor- 
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—Says FRED NEWMEYER, Fox Film Director 



-^y 




Eugene Feuchtinger, A. M. 



FRED NEWMEYER 



voices, 
been such a factor * ^g^ands 



At last! Your chance is here! The talking movie 
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Perfect Voice Institute, studio ix-6x 

X9XX Sunnyside Ave., Chicago 

Please send me FREE and without obligation. Prof. Feuch- 
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subject in which I am most interested. 
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*^ t^ppearance — 




In the Starry Kingdom 



K1 



I N. Wes 
, Buster — playing in Spile Marriage- 



N^^ 



Metro-Goldwyn-Ma^ 



Paramount Studio; 
Cal 

Haver, Phyllis— pla\ ing in The Office Scandal— 
Patlie Studios, Cul%er Citj , Cal 

Hersholt, Jean — plaMng in The Younger Genera- 
lion— CoWmbia. Pictures Corp., 1408 Gower St., 
Hollywood, Cal. 

Holt, Jack — plaving in Sunset Pass — Paramount 
Studios, 5451 Marathon St.. Hollywood. Cal. 

Horn, Camilla— playing in The King 0/ the 
Mounlain—Vnited .Artists Studios, 1041 No. Formosa 
, HoUvw ■ •• ■ 



Jannings, Emil— pi 
Paramount Studio 
wood, Cal 



01 



Kent, Barbara— recently completed The SI. 
iown— Universal Studios. Universal City. Cal. 
_Kent,_Larry— recently completed the Spir. 



Take, Arthur — plaving in Campus Kisses — Uni- 
1^ versal Studios, Universal City, Cal. 

La Plante, Laura— plaving in The Haunted Lady 
—Universal Studios, Universal City. Cal. 

Lloyd, Harold — recently completed Speedy — 
Harold Llovd Productions, 1040 Las Palnias Ave., 
Hollvwood.'Cal. 

Loff, Jeannette— recently completed A nnapolis— 



mbia Pictures Corp., 1408 Gower St., Hollywood, 



Love, Bessie — plaving in Broadway Melody — 
Metro-Goldwyn-Mayer Studios, Culver City, Cal. 

Lowe, Edmund — recently completed hi Old Ari- 
zona— ¥0^ Studios, 1401 No. Western Ave., Holly- 

Loy, Myrna— recently completed Hard Boiled 
Rose— Warner Bros. Studios, 5842 Sunset Blvd., 
HoUywood, Cal. 

Luden, Jack— playing in Sins of the Faihe 
ant Studios, 5451 Ma ' " •" ■• 



— Columbia Pictures Corp., 1408 Gower St., Holly- 
wood, Cal. 

MacDonald, Farrell — recently completed In Old 
Arizona— Fox Studios, 1401 No. Western Ave.. 
Hollywood. Cal. 

Mackaill, Dorothy — playing in Cli"' 



al Studios, Burbank. Cal 

IcAvoy, IWay — plaving in A"o Dc/.-H5<'--Warn( 
s. Studios, 5842 Sunset Blvd., Hollywood. Cal. 



Menjou, Adolphe — plaving in Marquis Vreferre 
—Paramount Studios, S45i Marathon St.. HolK 
wood, Cal. 

Mix, Tom— plaving in Tlie Drifter— FBO Studio: 
780 Gower St., Hollywood, Cal. 

Moore, Colleen— plaving in Thai's a Bad Girl- 
First National Studios, Burbank, Cal. 
JVIoore, Owen— recently completed Stolen Love- 



vet.. Hollywood. Cal. 

Moreno, Antonio — recently completed Adoration 
—First National Studios, Burbank, Cal. 

Morton, Charles — plaving \nChrislina — Fox Stu- 
dios. 1401 No. Western Ave., Hollywood, Cal. 

Mulhall, Jack— plaving in Children of the Rilz— 
First National Studios. Burbank. Cal. 

Murray, James— plaving in The Play Goes On— 
Universal Studios, Universal City, Cal. 



Metro-Goldwyn-Maj 



Broadway Melody — 



Philbin, Mary— playing in Port of Dream. 
versal Studios, Universal Cit\-, Cal. 
Phipps, Sally— pla "' " 



Fairbanks Studio.. __, __. 

Powell, William— pla^■ing in The Fom Feather.'!— 
Paramount Studios, S4Si Marathon St., Hollywood, 

Prevost, Marie — pla\ 



Metro-Goldwyn-Alaj 



O"^ 



Hollywood, Cal. 

Reed, Donald — recently completed Hardboikd — 
FBO Studios, 780 Gower St., Hollywood, Cal. 

Revier, Dorothy— pla\ ing in The Clean- Up— Fox 
Studios, 1401 No. Western .\\e., Hollywood, Cal. 

Rich, Irene— recently completed Ned McCobbS 
Daughter— Palhe Studios, Culver City, Cal. 

Roberts, JTheodore — recently completed The 



Rogers, Charles (Buddy) — playing in Someone 
to Low- Paramount Studios, 5451 Marathon St., 
Hollywood, Cal. 

Rubens, Alma — playing in She Goes lo War — 
United Artists Studios, 1041 N. Formosa Ave., 
Hollywood, Cal. 

Schildkraut, Joseph — plaving in .4 Bargain in the 
A,>em/;H— Universal Studios, Universal Citv. Cal. 

Sebastian, Dorothy— plaving in The Rainhou — 
Tiffanv-Stahl Studio, 4516 Sunset Blvd., Hollywood, 
Cal. 

Shearer, Norma — plaving in The Last of Mrs. 
Cheyney — Metro-Goldwvn-Maver Studios, Culver 
City, Cal. 

Sills, Milton— plaving in Comedy of Life— First 
National Studios, Burbank, Cal. 

Steele, Bob— plaving in The Amazing ]'agabond— 
FBO Studios, 780 Gower St.. Hollywood, Cal. 

Stone, Lewis — recentlv completed .A Woman of 
.iffairs — Metro-Goldwvii-Maver Studios, Culver 
City, Cal. 

Stuart, Nick — recentlv completed C/jasiM^r/iT-owgA 



, , _., Holly- 

wood, Cal. 

Swanson, Gloria— playing in Queen Kelley— 
United -Artists Studios. 1041 No. Formosa Ave., 
Hollywood, Cal. 



., Hollywood. Cal 
e— playing in The Three Passions— \ 
; Studios. 1041 No. Formosa Ave., 



wood, Cal 

'I'odd,^ Thelma— plasing in Seven Foolprinls to 

Torres, Raquel — pUniny in The Pagan — Metro- 

Tryon, Glenn — recenth completed Broadway — 

e Thieves — 



, Hoi 



3d, Cal 
:ompleted.S'/r«/ o//Hm- , 



Valli, Virginia-recp, 
.WOK— Columbia Pict 
Hollywood, Cal. 

Vaughn, Alberta— pi; 
Pat he Studios, Culver City, cai. 

Veidt, Conrad— recentlv completed Erie IhcCrt 
—Universal Studios, Universal City, Cal. 
Velez, Lupe— plaving in The Wolf 



Corp., 1408 Gower S 

Neighbors — : 



, Hoi 



Nilsson, Anna O-- recentlv completed Blockade 
—FBO Studios, 780 Gower St.. Hollywood, Cal. 

Nixon, Marian— plaving in Big Time— Fox Stu- 
dios, 1401 No. Western .\ve., Hollywood, Cal. 

Nolan, Mary— plaving in r/);>s/— Metro-Gold- 
wyn-Mayer Studios, Culver City, Cal. 

Norton, Barry — plaving in Sins of the Fathers — 
Paramount Studios, 5451 Marathon St., Hollywood, 
Cal. 

Novarro, Ramon — playing in The Pagan — 



w 



Studio 
lite, Alice 



aving in Hoi Stui 
, . . . _. , Burbank, Cal. 

Wilson, Lois — p\zj\-ingjn Object 



, 1408 Gower St., Hollywood, Cal. ', 



wood. Cal. 

Wray, Fay — plaving in The Four Feathers — Para- 
mount Studios, S4S1 " ' ~ 



n St., Hollywood, Cal. 



WILLIAM HAINES in 

ALIAS JIMMY VALENTINE 

LIONEL BARRYMORE-KARL DANE -LEILA HYAMS 



Jjck Convx 


av Product! 


From th 
Paul Ar 


• play by 


iaptation by 
Contin 
Sar.» Y 


■\. P, Vounf 
u,ty by 
Mason 


Titles by Jc 


e Farnham 




Slowly . . . silently . . . ominously . . . the great steel 
door swung shut, locking within that airless vault a 
helpless little child — the sister of the girl he loved. . . 

He had endured the third degree — could he stand 
that pitiful appeal? To "crack" the safe was a con- 
fession — not to, was — murder! What did "Jimmy 
Valentine" decide? 



It's an 
smash 



evening you'll remember all your life. A 
hit on Broadway at $2 admission . . . 
acclaimed the perfected dia- 
logue accompaniment. You'll 
have all the same thrills 
when your local theatre shows 
this record-breaking Metro- 
Goldwyn-Mayer film, either 
silent or with dialogue. 



qa metro-gold 

"More stars than there are in Heaven" 





Ifs in our safe — $50/ 

Have you the right combination? 

Answer these simple questions 

and win the prize! 

Come all you safe-crackers with bright ideas! 
Tliere's $50 and a valuable prize waiting for 
you in the M-G-M safe! The best set of answers 
to these five questions turns the trick. Read 
the rules below and send in your safe-cracking 



To the man winning the contest, William 
Haines will give $50.00 and the electric flash 
lamp he uses in "Alias Jimmy Valentine". To 
the woman, Leila Hyams will send $50.00 and 
the beautiful handbag she carries in the same 
picture. The next fifty lucky ones will receive 
my favorite photograph specially autographed by 
Yours cordially 



yicA/yft^'K^ ' fCtrxiJtA^i- 



1 — Name the six popular young players who 
appear in "Our Dancing Daughters." 

2— Which do you prefer— Sound or Silent 
movies? Give your reasons within 75 words. 

3 — What popular murder story listed as a best 
seller novel and serial story last year has 
been made into a talking picture by M-G-M? 

4— Name the Indian Chief in an M-G-M 
western who posed for the head on the 
Buffalo nickel. 

5 — Who is directing the first all Negro feature 
planned as an epic production of the col- 
ored race? 



New York. All an 
15th. Winners' nan 
of this magazine. 


swets must be receiv 
1CS wiU be published 


ed by February 
in a later issue 


NoTE:-If you do 
TwaSISr a prizTiJc 


not attend the pictu 
friends or consult 
of ties, each tying cc 


morion picture 
ntestant will be 
th that tied for. 




The William Haines Contest of October 
Mr. A. Humphrey Mrs. John Maloney 

Redwood City , California Racine, Wisconsin 

IVI AY E R PICTURE 

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The Passion Flower 



MAGNUS WORKS 
ick Sta., New York, Dept. MP2 



^ "ThatHas 
p^j^Real Style 




fS" tuie method makes 



I WOMAN 8 INSTITUTE Dept 19 P Scranton Pa I 
I <if Mikin„ Icdutitul Clotheb and tell me hou I I 
I D Home Dressmaking D Millinery ■ 




Barrymore is forty-seven years old and 
Dolores Costello, who has not been married 
before, is twenty-three years old. 



CLiVE Brooks and Baclanova are to be 
co-featured in their next picture for 
Paramount, which bears the working title 
of "The Woman Who Needed Killing." 
We think this title will be changed later; 
there are so many of that sort, how .can 
one distinguish? It is to be an all-talk- 
ing, and will be di- 
rected by Victor 
Schertzinger. 



RvquelTorres is to 
. have the leading 
role in "The Bridge 
of San Luis Rev" 
for M-G-M. Charles 
Brabin is to direct it. 



in the East for Paramount.! 



TioxEL Barry.more and Lowell Sherman | 
■L' are taking up the megaphon 
M-C.-M. Barrymore is directing "Con-' 
fessioi," a talking short feature; Sherman is 
directing another, called "Phipps." 



NORMA She.\rer is to star in "The Last 1 
of Mrs. Cheyney," which is to be made | 
as a talkie under the direction of Robert 
Leonard. Conrad Nagel and Lowell Sher- 
in are to be her J 
o leading mei 



ON Chaney 
■^ have an EastJ 
idia backgroun 
id catch wild ani| 
als for a circ 



u 



? E R S A L 

signed 
Joseph Schildkraut 
on a new starring 
contract. His first 
picture is to be 
"The Bargain in the 
Kremlin." 



LONEL 
' MORE 



"Madame 
full-length 
talking picture for 
M-G-M. Douglas 
Fairbanks, Jr., will 
play the son. 




next pictun 
h will be di- 
eted h\ Tod Brown- 



lich 



Bobbie and Eddie are lovers — in a new 
talkie. In the order of their mention, Miss 
Arnst and Mr. Cantor, of Ziegfeld fame 



THERE is talk of I 
Betty Bronson's 
being chosen for the | 
feminine lead in , 
" Broadway" ; Mary J 
Nolan will play 



gi\-e up film direc-l 



R 



LIONEL Atwell starts production- on his 
-> third two-reel feature for Fox Movietone. 
Violet Hemming plays the feminine lead. 

RICARDO CoRTEZ is to Star in a picture 
. called "Life," an original, for Tiffan^- 
Stahl. 

GLORLS. SwANSOX is to do a turn on the 
legitimate stage. She will play oppo- 
site Edward Everett Horton in "Her Card- 
board Lover," at the Vine Street Theater, 
Hollywood. 

" T_T ell's Axgels," for United Artists, is to 
Al have some dialogue added to the col- 
ored effects by Howard Hughes, the di- 



> ENTLEMEN OF THE Press" is to be filmed 
J as an all-talkie, and will be directed by 



HARD Dix is back in the East for an| 
indefinite stay. He will start produ< 



WALTER PiDGEOx is Completely recovered I 
from a recent automobile accident, in r 
which he had his nose broken in three places. I 
His profile is as good as new. 



N 



)AH Beery is to star in a talkie, "The i 
Red Sword," which Robert Vignola 
lirect for F. B. O. 



Warner Baxter has just signed a 
year contract with Fox. He will do 
leads in talking pictures. 



MARY Brl\n or Mary McAllister is to be 
the choice of Harold Lloyd for leading 
lady in his next picture. 




Many good things have been 
added to your screen euterlaiu- 
meiit by the talking fihn. Tliis mar- 
vel of modern scientific achieve- 
ment has added new punch to 
many dramas; thrills and chills 
to the spectacles and the mystery 
plays. f[ But, NOW, best ofalU the 
comedies talk I flFor Educa- 
tional Pictures, always the out- 
standing leaders where Short 
Features are concerned, 
bring to you through the 
best theatres every- 



where, a new laugh treat. ..short 
comedies with talking, music 
and all natural sound eflfects, 
from start to finish. HI If you have 
not seen and heard one of the 
new Mack Sennett Talking Com- 
edies, you have a delightful sur- 
prise in store for you. If you 
have seen "The LlON'S ROAR" 
and "The Old Barn", you 
are watching now for the 
next one. And there will 
be a new one every few 
weeks. 







LEPT OVERS 



^ M?ALTER Ramsey 



Hollywood 
¥ightandDay 



Scenes as Seen: Imagine Gilbert Roland's embarrassment to 
wake up in a barber chair and find his hair cut! 

Wonder what Molly O'Day was doing in that candy shop, just two 
days after leaving the hospital and a weight-reducing operation? 
Kiddies will eat candies, let the doctor take his pound of flesh. 

Boulevard drug stores feature a seven-course chicken dinner 



the counter. 

Claire Wind- 
speaks to her at Oi . . 

The regular movie stars sound 
better in the talkies than the famous 
stage luminaries. Maybe they don't 
know any better. 

Ruth Roland rooting for U. S. C. to 
win the football game. And her in- 
vestment there is only two dollars — 
for a seat. 

Marie Prevost sitting all alone at a 
huge table in the Ambassador. 

Deaf and dumb newsboy in front 
of Henry's Grill at three o'clock in 
the morning, the time for the big 
rush for supper. He's only deaf. 

Have you heard Bebe Daniels's new 
whoopee song? 

Little Italy invades the Boulevard 
at five o'clock, selling yellow roses at 
fifty cents a bunch. 

Conrad Nagel in a wine-colored 
Rolls - Royce. Who says virtue is its 
own reward? 

And did you hear? Bill Hawks is 
that way about Sally Eilers. 

Sally b' Neil's bright green phaeton 
in front of the Roosevelt Hotel every 
day. Ain't you got no place to go? 

Scrub-women arriving at the studio 
just as the actresses leave. There's 
a time and a place for everything. 

Hollywood today looks like Chicago 
on a windv afternoon. But Chicago 
will never look like Hollywood in any 
kind of weather! Because Hollywood 
women wear 'em silk all the way up. 



Every time an actor dies in Hollywood, all the rest of his crowd 
take out more insurance. 

And the funny part of it is that this superstition has invariably 
worked out, "When one actor dies, three die." 

That's the reason for half the worried looks on the Boulevard. 

Within the last month the same has come to pass again. The first 



How long will it be before they have a cover charge? died of poisoned food; the second, a more heroic 



hing as scarlet as her dress when Bert L\-tell 



perished 




t of a speeding automobile; the third 

passed away with tuberculosis ir 

little hut in the Arizona desert. . 



Several prominent actresses 

have as their pet aversion the fur- 
nishing of their dressing-rooms. 

One refuses to choose the drapes or 
any of the hangings at the windows. 
The studio must do the job for her 
and she takes what she gets without a 
whimper. Still another believes that 
the addition of a single piece of 
furniture or the hanging of so much 
as one extra picture spells ruin. 

She really has a good reason for 
her actions. When she received her 
first dressing-room as a contract 
player, she proceeded to give it the 
finishing touches. She added pictures 
by the score and bric-a-brac by the 
ton. Four weeks later she was let out i 
of contract. 

The next contract she recei 
found her in a bare room with one 
table and chair. She still has 



The newsboys in Hollywood 

ould never be accused of disloyalty. 
Most of them have been yelling from | 



the same c 



r for 



any years 



Negroes are the most super- 
stitious people in the world. And 
next come the actors. 

There's a rabbit's foot for everv contract 
least an old coin. This childish belief in th( 
actors easy prey to such hokum artists ; 
tellers and their ilk. 

Pampered darlings of the screen, who wouldn't wait five 
in an easy-chair to see King George do a back somersault on his 
canetta, will stand for hor" =" " -^■■""" — -'- --—*•— *-" fi"'^ "'>--*- 
tomorrow holds for them. 



We hope when John Barrymore asked Dolores Costello 

to marry him she had the grace at least not to say, 

"This is so sudden." Because she had this wedding 

gown all set long before the engagement came out 



in Hollywood. Or at 
;upernatural makes all 
; spiritualists, fortune- 



in a dingy seer's sanctum to find what 



Foreign actors even carry their old-country superstitions into 
Hollywood. 

It seems that in Poland the sign that means good luck is a little 
pig. Or in a pinch, even the squeal of a pig is the last grunt in good 
fortune. 

Hollywood has just lost her most famous Polish actress, but it is a 
matter of history that she never started a picture until a live pig 
had been turned loose to spread good luck all over the set. 

And how those little pigs used to spread good luck is also a matter 
of more-or-less common knowledge. 

16 



Old Dad has been i 
Gotham every night since 
built, at exactly the same ho 
ing the same shabby coat. He opens 
the door, politely removes his hat 
and walks slowly around the rows of 
tables. Theysayhe's seventy years old. 
Then there's the boy at Highland Avenue. He has sold papers and 
written poetry on the same corner for six years. 

And Glasses, the kid who makes all the late supper crowds at 
two-thirty, has ne\-er been seen awake without a large cigar in his 
mouth. 

In fact, Holh-wood changes in looks so often that the newsboys 
are about all you can recognize after a month's vacation. 

For Visiting Fireman: The Pom-Pom for a rough and ready 
nude re^•ue. 

The Moderne Inn on LaBrea for flaky pie-crust and, oh boy, 
what filling! 

Henry's for blonde waitresses, 

The Golden Club way out on Sunset to lose a few dollars in a good 
cause. 

Barrow's Chicken Inn for just that. 

Plantation for a look at Fatty Arbuckle and a crew of two- 
hundred-pound waiters. 

Mayfair Supper Club for class and beautiful women. 

And Harold's apartment for a good fizz. 




MelHii's Food— A Milk Modifier 

Food for the Baby 

Mellin's Food and milk furnishes protein in sufficient amount to 
assure constant development of all tissues and cells of the body. 

Mellin's Food and milk supplies carbohydrates of a character that 
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important part in all digestive processes and which furnish material 
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MeUin's Food and milk supplies fat, an element that is made use 
of in the body for practically the same purpose as carbohydrates — ^a 
source of heat and energy. 

MeUin's Food and milk thus covers completely the nutritive 
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relied upon as a satisfactory substitute for human milk. 



\ 



MeUin's 


Especially suitable 


MeUin's 


Food 


when it becomes time to wean 


Food 


Biscuits 


the baby from the bottle 


Biscuits 



A sample box sent free, postage paid, upon request. 

MeUin's Food Co., 177 State St., Boston, Mass. 



J^ 




"1 puked it up at Malta" Mrs. 
Iselin says of the embroidery in 
her frock, a symphony of ill the 
gorgeous hues that suit her beauty. 
It vjas made up after her oivn 
design, tike the high-dayman's 
coat worn with the Reboux tri- 
corne of the larger portrait. 





"Women are loveliest in evening 
dress," says Airs. Iselin. This 
Lanvin creation of antique green 
brocade and silver lace reveals 
the ivory beauty of her neck and 
arms. A magenta girdle and 
green slippers vcith magenta 
heels complete her ensemble. 



Mrs. Adrian Iselin II is the wife of the internationally distinguished 
yachtsman. Beauty, charm, chic, a merry wit and many brilliant 
talents make her one of the smartest and best-liked women in New York. 



// 



/f loveLy skin is essentidii to k^hic^ Sdcys 



\ ]\ TRS. ISELIN'S BEAUTY recalls 
XVX the gorgeous Renaissance. She has 
burnished copper hair and wonderful 
green eyes like precious jewels. Her per- 
fect skin is white and smooth as ivory. 

Tall, slender, graceful in every gesture, 
Mrs. Iselin is famous for her chic. 

Color is her hobby. Color can make or 
mar a woman's beauty. For her own 
auburn type she chooses tawny browns 
and tans, yellows and greens. 

"Nowadays to be perfectly groomed is 
all-important," says Mrs. Iselin. "Fas- 
tidious women follow a daily regime. 

"Pond's complete Method makes this 
daily treatment simple and practical. 

"The Cold Cream has always been my 
standby. Now the new Tissues are ex- 
I quisite for removing cold cream. The 
delicious Freshener keeps your skin firm 
and young. The Vanishing Cream is a 
delightful powder base." 




■ dressing table "aith special green 
jars made by Pond's to hold the Tzvo 
d Freshener for her daily regime. 




In the familiar containers— Pond's four famous 
products. Two Creams, Tissues, Freshener, which 
beautiful women use daily to keep their skin lovely. 



Thousands of chic and beautiful wc 
follow Pond's Method thus: 

AMPLY APPLY the light, pure Cold 
L Cream over face and neck, morn in 
night and always after exposure. Use firr 
upward strokes, letting the penetrating 
oils sink deep into the pores. 

Wipe away the cream with the Cleans- 
ing Tissues — ample, soft, absorbent. 

For a bracing effect — the tonic Fresh- 
ener closes the pores, tones, invigorates. 

Finish with a whisk of ^'anishing 
Cream to make your powder cling. 

Try Pond's Method for a w<;ek! 



Send 1 


Ufor Po 


j?'^ 4 Prepat-allon.^ 


Pond's Ext 
113 Hudson 


RACT COMP 

Street, Ne^ 


vxv, Dept. P 
• York, N. y. 


NamP 






SrrPPf - - - 


City 




.St.it-e 



(Copyright, 19:9, 1 




If "Just Married" were a statement of an event in the life of Ruth Taylor, in 

the heart of many thousands of fans a hope would cease to spring eternal. Happily, 

the two words are a statement simply of the title of her latest photoplay 




No young man is safe 
these (lays from the temp 
tation to become a rack- 
eteer. Not because of the i 
riches to be had from 
such a career but, and 
pardonably, because 
Mary Astor makes it 
glamourous by appearing 
in such a picture as "A 
Romance of the 
Underworld '" 



1 



His naturalness of man 
ner, his utter freedom 
from conceit brought to 
Arthur Lake an unusual 
but merited success in 
"The Girl-Dodger." And 
they should carry him 
to still greater popularity 
in a forthcoming series of 
films of film-life called 
"Harold of Hollywood" 





The abilities of Renee Adoree far transcend the opportunities 
that have come to her to display them. But from all accounts 
of her performance in "Tide of Empire, "it is of such force as to 
guarantee the further rise of the waters of her own popularity 




Standing on the threshold— and that of a very genuine popu- 
larity: Loretta Young. She has her chance in the assignment 
to her of an important role in the new Richard Barthelmess 
feature, "Scarlet Seas." The title is an omen, perhaps, that her 
ship is to come in 




Those who argue for the influence of heredity will find material for their 

brief in the example of Douglas Fairbanks, Jr. In "The Power of the 

Press" he gives promise of consolidating for another generation at least 

the artistic dynasty founded by his father 



/li 




The hue of her hair has been destined to follow a trend the reverse of the 
nature of her characterizations. For while Vera Reynolds has lately fore- 
gone the sunny realms of comedy for the darker earnestness of dramatic 
roles, her tresses have turned golden 




The daddy of all Mammy singers, Al Jolson, has returned from a trip 

abroad with a new wife and -even with "The Singing Fool" as a standard 

— aspirations to set another new high level of performance in the new art 

of the talking pictures 



-^W-^ THE SCREEN MAGAZINE OF AUTHORITY <-<}-<W- 




February^ 1929 



MAJOR GEORGE K. SHULER 

Publisher 



LAURENCE REID 

\1anagi)ig EtUtor 



DUNCAN A. DOHIE, JR. 

General Mnncvrcr 



e 



anierai 



I 



THERE come a number of reports that several 
of the most famous of foreign stars are fin- 
ishing their American careers and looking 
up sailing dates; and this is ascribed generally 
to the requirements of the talkies. 
These departures are, so far, hardly more than rumored. 
It is known, of course, that Greta Garbo has gone back to 
Sweden for the Christmas holidays, for her first vacation 
since landing in the United States. And while her leave- 
taking is definite, the event of her return is not. Perhaps 
Miss Garbo takes it for granted that everyone knows she 
will return. Still, in the absence of definite announcement, 
fans are likely to wonder. 

For another instance, there is that of Emil Jannings. 
He has been reported as intmiating time and again that he 
was contemplating a retirement from the screen entirely. 
Having plenty of money to be quite independent for the 
rest of his life, he easily could afford to do nothing more 
than amuse himself as he saw fit. 

The only great star who has surely severed relations 
with the American screen is Pola Negri. And what with 
the difficulty that producers had in fitting her into roles, it 
is likely that even without the development of the speaking 
screen she might have preferred not to undergo the worry 
again of adjusting herself to Hollywood and to stories 
especially for the American taste. With the talkies here, 
however, and even our own actresses laboring often under 
the handicap of unsuitable speech, it is very close to 
certain that Miss Negri will not return. 

NO ONE IS SAFE 

THESE are three examples which may point to an 
evacuation by European stars of really high places on 
the American screen. Two of them are uncertain; but the 
very prominence of their names and the very suggestion 
that they may vanish from our midst indicates a trend. 
For if the talkies as an institution are more valuable than 
even such artists as Miss Garbo and Mr. Jannings, then no 
one is safe, no one's position is secure until he has proved 
it to the microphone as well as to the camera. If these 
stars go, then most assuredly will go a legion of lesser 
luminaries. 



All of which means that the talkies will make in time for 
a complete Americanization of our screen. We shall, in no 
time now, have to draw for our actors and actresses from 
among our native film players who can talk and the stage 
players who will screen. 

This will, for the time being, most certainly create a gap 
in the ranks of artists of fine ability. Or, perhaps, it would 
be more accurate to say that it will reopen a gap that was 
there before the induction of Continental players; for it is 
obvious that they never should have been imported if it 
had been possible to find their equal here. 

But even if they do all eventually leave, they have done 
a service for American picturegoers. They have shown the 
audiences of this country a skill of a certain sort which 
never before had been seen in photoplays. They have 
educated the taste of American fans up to expecting 
characterization of a very fine type indeed. Wickedness of 
a type portrayed by Theda Bara in the old days would be 
considered appropriate now only to a Mack Sennett 
comedy; and we have learned, too, that a Czar or a King 
of France may be before he is a monarch, a very definite 
kind of man. 

THE LOCAL TALENT 

IT is thus too bad if we must lose actors of the grade who, 
despite their unfamiliarity with us and ours with them, 
have made themselves nnmensely popular and admired. 
We shall for a while know that something is lacking. 

But not forever; indeed, for less time than that. The 
public has seen the good things and it will not forget. And 
that being the case, it will insist that we ourselves develop 
players capable of replacing the vanished non-Americans. 

Fortunately, we have already a nucleus of such quite on 
a par with those who, sooner or later, must and will 
depart. We have, first of all, the two Barrymores, John 
and Lionel. We have Jolson and Nagel. And we have 
others hardly less adaptable to the new medium of sound. 

The leave-taking of the European actors will bring 
about a void for a time, of course. But the effort to fill 
that void will, as it is accomplished, lead a spur to the 
excellence of players from our own midst. The loss in 
the end will be a gain for photoplay art in America. 

27 



(commander xSyrd ivules 

There's Not a Vamp in the Carload 
Of Films His Expedition Will Carry 






In the center, Commander, and 

just above Mrs. Richard Byrd as 

she appeared to bid her husband 

good-bye in Los Angeles 

TWENTY -THREE 
hundred miles from 
land. 
Twenty- three 
hundred miles from the 
nearest habitation of man. 

Portable houses poised 
perilously on great slabs 
of ice amid the Antarctic 
ocean. 

For six months the 
drear bleakness of night. 
Not one peep at the sun's 
rays, with their snugghng 
warmth and cheerful en- 
couragement. 

For six months the blank 
glare of day. Not one glimpse into the comforting darkness 
with its curtain-like oblivion of trouble and sorrow. 

Unknown dangers; unchartered seas; unexplored regions 
of ice, air and ocean. 

All this as a locale for one-hundred and fifty thousand 
feet of the world's strangest motion picture. 

Just what will Commander Richard E. Byrd, explorer 
extraordinaire and filmdom's most unusual supervisor, 
bring back to the picture-going public? 

I boarded his train at San Bernardino to talk with him 
about It. 

In three days he would take ship at Los Angeles narbor 
for the South Pole, to make this epochal picture. 

The Union Pacific oflficials had said I would be able to 
talk with him. 

A reporter, representing the syndicate with which he 



Just after he had achieved the 

other extreme: Commander Byrd 

immediately after his flight over 

the North Pole, two years ago 



has signed for exclusive 
information, said that I 
couldn't. 

It was a delicate situa- 
tion. Commander Byrd 
was ill. He had con- 
tracted a severe cold in 
crossing the continent. His 
temperature was I02. One 
did not like to disturb a 
man who was starting for 
the edge of the world and 
would need every inch of 
his strength and resist- 
ance. 

P.&'A. THE commander's PROMISE 

As the train neared Los Angeles, he came from his 
. stateroom to speak a few words to newspaper reporters 
concerning Los Angeles and its people, his hopes and his 
dreams of the scientific results of his exploration. 

I asked hrni for an interview concerning the world's 
strangest motion picture. 

For fully two minutes he did not answer. But his eyes 
kindled with interest. And during that brief period of 
silence I understood why Commander Richard E. Byrd 
has become one of the world's most intrepid explorers. 
Understood why his eighty-three men are willing to go to 
the ends of the universe with him. Came to believe in the 
ultimate success of the world's strangest picture. 

When he should speak, I knew he would give a decision 
which would be final. And I made up my mind that if he 
said "No," I would not press him. It would do no good 



Out 



By RUTH BIERY 



Sex 



to press him, anyhow; merely be a waste of time. 

" I will see you in Los Angeles before I go. 
Tell Van der Vere where I can reach you.' 
Willard Van der Vere is the Paramount cameraman 
who accompanied Byrd on his North Pole expedition; 
who, with Joe T. Rucker, will make the Paramount 
picture of the South Pole expedition. 

That was all, but it was sufficient. Usually, when a celebrity 
puts off an interviewer, that interviewer pursues him. We pester the 
people we wish to see until they — ah, it is too bad to admit it — must see us to 
be rid of the annoyance. 

But to pester Richard E. Byrd during his last two days in the home-land of 
civilization! 

LO.\TH TO IVIISS SUNLIGHT 

TWO days passed. The newspapers said he had completely recovered, 
that he would leave on the day after the morrow. Friends laughed at 
me when I said he would keep his promise. They said — 

The next morning at ten-thirty I walked into his suite in a Los Angeles 
hotel — at his invitation. 

A man who leads eighty-three men to the edge of the world is a man who 
has learned to keep his least promise. 

"This is the reason I do not like to make appointments. I have been 
waiting to go to the top of the hotel and enjoy this sunshine. I do not 
like to miss any of it." 

A simple statement of fact. Not complaining. He was frankly sorry — 
this man who was so soon to have only the memory of sunshine to warm 
him. I was sorry with him. 

"Ah, yes, the motion picture angle." He went straight to business. "In 
1925 when I was flying on explorations, I paid little attention to motion pictures. 
When I went to the North Pole, I took two good men with me: Van der Vere, 
who is with me this time; and Donahue, of Pathe. Do you know him.?" 

A look of regret when I admitted that, to me, he was unknown. Would he, 
perhaps, have liked to have added Donahue to this expedition.? It is well 
known that he likes to have the same men with him. 

'They were good men. I 





Pointing out to his men the way they should go: 

Commander Byrd indicates on a rough chart the 

route his expedition is to follow 



didn't exactly neglect them. 
But I didn't give them much 
time and attention. I regret 
it. That expedition brought 
home to me the value of mo- 
tion pictures as a scientific 
record as well as for the in- 
structive amusement for the 
people. 

"Motion pictures are un- 
doubtedly the best way to 
l)nng back any record. We 
are going to absolutely new 
areas. I cannot say, no 
one can say, as to the 
actual contents of these 
records. We will take 
our mapping records 
b\ motion pictures. You 
can see in one minute A'" 
through the eye of thecLL 
camera what later might Lifting his hat to the country tha 
{Continued on page 102) hat to him: the explorer wavii 



Wii 



Ss^'i 




X 



Not only at locksmiths but at chemists as well, it would seem, love laughs. For here in a laboratory 

scene from the forthcoming production of Jules Verne's ' 'The Mysterious Island," Lloyd Hughes 

finds every formula he ever knew driven from his mind by the light in Jane Daly's eyes 



What They Talk 
About and '^J^JOW 

The Conversational Topics of 

Phyllis Haver And Milton Sills 

xA.re Not The Same 

By DOROTHY MANNERS 

YOU'VE heard them on the Mtaphone, Movietone, 
Photophone and microphone. "But you ain't heard 
nothing yet!" 
^'ou ought to get them on 
the telephone. 

The world has just waked to the news 
that Hollywood has a voice. But she's 
been sure of her own tongue all along. 

And what a tongue! Wit.? You said 
it. Jokes.' "^'ou know it. Gossip.? 
You've read it. Wise-cracks.? Dun't 
esk. Didn't Anita Loos get the dialogue 
meat for "Gentlemen Prefer Blondes" 
from Norma Talmadge's mother, Peg.? 
Is William Haines funny.? 





These provide not only 
much of the basis for con- 
versation in Hollywood, 
but the conversation itself. 
They are, from the top 
down, Phyllis Haver, 
Douglas Fairbanks, Mary 
Pickford, Elinor Glyn, 
Al Jolson and Milton Sills 



and that even the more in- 
trospective minds that lean 
and 



^'ou tell 

(If that gentleman with 
the long whiskers in the back 
of the room will please speak 
a little louder — ? Litera- 





toward psychology 
other ten-letter words are scared of airin, 
opinions lest they be dabbed high-hat. 



their 



BACON NOT FOOD FOR THOUGHT 



SO 1 
wi; 



books.? Certainly, we have 
all read a book. That is, 
Milton Sills has. And 
philosophy.? And art.? If 
the gentleman with the 
long whiskers will kindly 
leave the room, we will all 
be much happier. 
Thank you.) 
>,^^ In estimat- 

^ji^ ing just how 

^ ^*-. small is Holly- 
wood small- 
talk, we must 
bear in mind that Holly- 
wood is notoriously dis- 
interested in anything that 
happens outside of Hollywood ; 



Hollywood chats and gossips, patters and 
^ise-cracks; and, while a good time is had by all, 
no one has yet been knocked out in a heated argu- 
ment about Bacon and Shakespeare. 

What Hollywood social chatter may lack in 
depth, it makes up in surface-wit. The studios have pro- 
duced more wise-crackers de luxe than Keith and Pantages 
combined. National slang phrases such as "Just the 
type" and " Be yourself! " and any number of others were 
born under the spotlights. 

^'ou should hear Bill Haines, M.-G.-M.'s little boy, 
when he gets going good. Or maybe it's just as well you 
don't hear him unless you know all the fancy words they 
used in "What Price Giory" (and a few they didn't have 
the nerve to use). Did you hear the one about the traveling 
salesman in the small town, baby.? Well, it seems that this 
guy blew in on a late train one stormy night and couldn't 
find a place to sleep. So he knocked at the door of the first 
little house, and who should answer but a pretty little 
dame whose husband was out that evening. "Listen," 

said the traveling salesman, " .?" And 

she says', " , ." And he sajs, " 

.?.?^.?.??" And then she says " ." And that settled it. 

BILL IS LIKE THAT 

Now, don't blush, dear, as Phyllis Haver would say. 
Don't pay any attention to Bill. He doesn't mean a 
word he says, dear. He's just a great big playful boy who 

{Continued on page lo6) 




{^lad to Call It a Day 



Baclanova is, after a strenuous routine 
of home-wrecking, heart-breaking and 
double-crossing at the studio. Hence the 
luxury of these lounging pajamas which, 
however faithfully shown here, really 
must be sheen to be appreciated 



(T^^ 



3- /•' 



Q ^ 




By 
DOROTHY 

DOXXELL 



The four Warner 
brothers, and what 
they grew: from 
left to right, Al- 
bert, Jack, Harry, 
and the late Sam 
Warner. Below 
them, their new 
studios and broad- 
casting station 



<:^ylll J he (ijrothers yjjere Valiant 

Sam and Al and Jack and Harry Warner Have Never 
Repudiated Their Own Declaration of Independence 



""1^ TOTICE: Warner Brothers Is Not For Sale." 
^^^ One week not long ago all the motion pic- 

I ^^ ture trade papers carried this advertisement. 
Behind these seven terse words lies the great- 
est drama of HolK'Avood, a drama greater than any cellu- 
loid struggles and gelatine epics the Warners have ever 
filmed. 

Two years ago it was whispered, with that pleased ex- 
pression with which Holl\-wood passes along bad news, 
that the Warner Brothers were on the verge of bankruptcy. 
Two months ago, the same whisperers said, they refused 
twenty million dollars for their company. They could 
sell out now, retire and live like rich men, but they're not 
going to. They are going to make pictures. Warner 
Brothers Is Not For Sale. 

Warner Brothers, 1923: the butt of good-natured rail- 
lery. The local joke of vaudeville teams ("Varner Brod- 
ders makes it a great success mit the movink pichers, ain't 
it, Abie?" "How's that, Mawruss.''" "Veil, ven dey come 
cud here dey got forty cents by their name, end now dey 
owe forty millions. Dot's success, Abie."), Warner 
Brothers, the poor suckers who imagined they could make 



independent pictures without asking the consent of tne 
big boys. Going to make movies, eh ."^ And what are they 
going to use for money.'' Ha, ha, ha! 

Warner Brothers, 1929: a studio of white stone, built on 
classic lines. Two powerful radio masts broadcasting 
K.F.W.B. into the listening air. A great theater with long 
lines of fans waiting to see the new talking pictures the 
Warners have fathered. A huge tie-up with First National 
and the Stanley Company of America to open thousands 
of other theaters to their pictures. The biggest producers 
in HolU'wood murmur the name enviousl\-, bitterly — 
reverently almost. "Warner Brothers — the lucky guys!" 

FOIR BROTHERS, ALL BROKE 

TEN years ago four young men, brothers — all of them 
over six feet tall, broad shouldered and dark com- 
plexioned — walked down j^roadway — broke. Their com- 
bined pockets yielded exactly one dollar in the smallest 
of small change. They bought four ciszurs w irh the dollar 
and smoked them luxuriously, afrii rlu- iiKinner of those 
more accustomed to the five-cent luaiuls. Iktore the last 
{Continued on page 88) 

33 



iS^ubber O 



tamping 



By GLADYS HALL 




HOW we get tired of gossip out here on Hollywood Boulevard! Out here ' ; 
where all God's stars have lines. Tags. Labels. Stamps. Pasters. Tickets. \ 
Trade-marks. \ 

There is no conversation in Hollywood. There are only tags, and they j- 
are brought forth on every occasion and when there is no occasion at all and chewed ' .' 
long enough to make poor old Fletcher die of shame. 

Which means, of course, that there is a great surfeit of cackle, and other indoor ' 
sports. But it is one-track stuff. Not conversation as it used to be in the good old ■ 
days when astronomy, politics, Brigham Young, old wines, foreign relations and j 
other topics leavened the loaf. \ 

In Hollywood, need I repeat, there are only lines and tags. Each star is ticketed. • 
Branded with his or her own brand, and try to wiggle from under if you can. j 

The famous case of Valentino will point the moral. He leaped into prominence as ; 
a sheik. A dispenser of S. A. A he-vamp. A great lover. The great lover. That j 
ended that. No matter where he went, from Nigger Heaven to the Colony Club, "; 
he was expected to be one thing and one thing only: the Great Lover. Females of 
all persuasions ogled and googled and sidled and insinuated and poor Rudy wa's ^ 
expected to ogle, google and insinuate back again. j; 



ONCE A LOVER, ALWAYS 

NO one ever dreamed that the man might have had other interests, other 
pursuits, other desires, as it were. It never occurred to anyone that he might 
and did ride horses, read books, know something about agriculture and the Italian 
peasantry. All of that was beside the point. Whenever two or three were gathered 
together in his name, not one syllable was ever uttered about him, out of the many 
million that were, unless those syllables somehow connected up with the great lover. 
A new scandal. A new love affair. "Did you hear that so-and-so was really the 
great love of Rudy's life.?" "Did you hear that Rudy is having an affair with so- 
and-so.'"' Never, never, never, never anything else. His line helped to kill him. 
His tag tagged him to death. He might have been alive today — but why go 
into that.? 
_^ This goes for one and all. 

Each one has a tag. You never hear anything about them but that tag. 
Take Pringle. As you know, someone dubbed her "the darling of the 
literati." It became noised about that she knew smart people, was "intel- 
lectual." Well, that's her tag. If she is interested in anything but the cerebral 
gymnastics of Mr. Mencken, then no one but a pearl diver could be the wiser. 
I have sat in at innumerable sessions when the Board of Correctors has brought 
her case before the House, and never have I heard one peep about her that did 
not have to do with the aforesaid tag. 

Milton Sills let it leak out that he was once a college professor. Taught 
Greek or something. It doesn't matter. It only matters that whenever HoUy- 



These stars Hollywood 
has classified for life; 
from the top down, Aileen 
Pringle, Greta Garbo, 
Lois Wilson; then below 
from left to right, Clara 
Bow, Lya de Putti and 
John Barrymore 




s 



the :>TARS 

Once Hollywood Classifies 
You, You Stay Classified 



wood dines with Milt they await, forks suspended, to liear 
Socratic words of wisdom drip from the Sills's lips. They 
await the expounding of the nehular hypothesis; and so hyp- 
notized are they hy the tag he wears they helieve they get it — 
the nebular hypothesis — whether they do or not. 

His little woman, Doris Kenyon. is labeled a sweet girl. She 
writes poetry and is refined. Let her break forth in whatever 
Faturnalian orgies she may, let the winds of calumny howl about 
the Lares and Penates, 'twill avail her nothing. She is a sweet 
girl and a sweet girl will be writ on her movie mausoleum. 

Billie Dove is tagged with the label beautiful. Most beautiful, 
and other superlatives of the same adjective. She wistfully 
mentions that she likes psychoanalysis and house painting and 
other foibles not listed in the Ziegfeld Zodiac. She fancies brains 
and likes to see them convolute under a surgeon's knife. Hollywood 
says, "Isn't that quaint?" titters behind manicured paws and the 
luncheon tables buzz with, "Beautiful, beautiful, beautiful." When 
a^e has taken its toll of the Dove epidermis, even then the rigid raven 
will croak, "Nevermore." You get me? Dull, isn't it? 

Florence Vidor is ticketed a lady. Neither divorce, Marco-Poloish 
flights to Europe, nor remarriage to a renowned fiddler, nor any other 
adventure, legitimate or spicily the reverse, will ever remove from 
Florence the stigmata of elegant society. She may as well give up un- 
less she likes it. For give up its labels Holl\'^vood never will. Don't be 
amusing. Why should Hollywood exert imagination and everything? 

THE LABEL ON LYA 

TO cite an opposite equation from the ones above, put in her 
bureau drawer for you, there is Lya de Putti. Lya was wicked in 
"Variety." She arrived on these shores with the lascivious label. She 
feebly essayed the desire to be good, to be a decent, law-abiding citizen. 
Too late. The label was pasted on. Hollywood went "Tee, hee; tee, 
bee," and pasted new glue on the sticker. 

Clara Bow has It. Yeah, didn't you know? Hollywood does. If 
Clara Bow should ever marry a one hundred per cent. American and go 
in for the horticulture of raising some little one hundred per cent. 
Americans, Hollywood would trip over them and never know the dif- 
ference. For think, think of the mental effort necessary to take a new 
{Continued on page ii^) 




Others whose characters' 
has stereotyped 
are — from left to right, 
Kenneth Harlan, Flor- 
ence Vidor, Billie Dove; 
then, upward, Lili Damita 
and Ronald 
Doris Kenyon and Marie 
Prevost 



jn mJ CJ 



ut\ 



Gossip of the | 




"LTER friends were showing Lupe Velez how to operate 
one of the new harmonicas which play a tiny 
phonograph record when you blow into them. "How 
long can you hold your Joreath, Lupe?" one of them 
asked. Lupe considered. "Wal, about so long as seex 
kisses," she responded candidly. 

From Mules to Movies 
QHARLEY ROGERS has a younger brother who has 
just returned from a trip to Europe on a mule boat. 
"He went over on the same boat I did," Charley told me. 
"He's doing everything exactly the same as I did: learn- 
ing to play the saxophone, rooming in the same room I 
had at college. He thinks that if he follows my steps 
exactly he'll become a movie actor, too." 

He Thought It W as Trolleywood 

J^AURICE CHEVALIER, the smiling French rnusical 
comedy star, made a speech at the luncheon given in 
his honor at the Roosevelt. "I will tell you a leetle story 
about my geographic," beamed Maurice. "Wen I come 
to New York t'ree year ago I get telegram from Doug 
and Mary that I know in Paris. I like Doug ver' much. 
I like Mary, too, ver' much — no harm in that, eh? Well, 
I get the telegram and I am very please. I show it to 
everybody, See what famous people telegraph not-so- 
much-me! I theenk today 
he is Friday. Tomorrow 
is Saturday wiz many 
things to do, but on ^^■JI^H^H Richee 



Phyllis Haver — above — not only looks 

like, but is actually to play the part of, 

a China doll, in the title role of "Sal 

of Singapore" 



^ 



^i^' 



/ 



One of the Jeans chary of jeans is 
Miss Arthur, appearing conveniently at 
this moment on the right. Her salary, 
they say, like herself, represents a tidy 
figure 



From the place where it is a passing 
sport to shoot 'em out comes the girl 
chosen for "City Lights," as Charlie 
Chaplin's leading woman. She is 
Virginia Cherrill of Chicago 

36 



% 








F 



VCUS' 



Stars and Studios 

Sunday I take the tram from New "^'ork and ride out to 
'OUywood and see Doug and Mary, and come back 
Sunday evening." 

Truth Wilder Than Fiction 
"T ADORE reading," said the lovely star to the inter- 
viewer. "I am happiest when 1 have a good book. 
Don't you just love 'Bridge' by Sam Lewis Rey?' 

Unfeeling Kisses 
A ND now a movie director's wife is suing a beauty 
specialist because after he remodeled her lips she 
can't feel it when she gets kissed. 

L Like in Lephant 

A CERTAIN producer, so they tell gleefully around 
the studios, decided to go hunting and called up 
his house. " Blease get my gun oud of the den and send 
it down by the studio at once," he told his valet. "What 
did you say you wanted, sir?" asked the valet. "My 
gun," said the producer more forcibly than before, 
''Gun!" "Awfully sorry, sir," said the valet, "but I 
still don't know what you want me to send." "GUN!" 
roared the producer. "Listen yet: G, like in Geerusalem, 
U like in Urope and N like in Numonia. Now do you 
understand?" 

The Girl tvith the Goods 

TT was a fan magazine writer who had invited a little 
movie actress to dine at the Cocoanut Grove. She 
came down the stairs very staidly, dressed in a sweetly 
girlish gown. She was shy and de- 
lure and she listened with flat- 
tering earnestness to his dis- 
course. "At last," thought 



She's becoming as famous as the wheel 
that is her namesake, is Audrey Ferris, 
just below; and like it, too, she has had 
— if rumor may be credited — her ups 
and downs 

Fryer 






Because arm-chairity begins at home, 
Richard Barthelmess — at the top — 
prefers remaining there, as a rule, to 
prospecting about Hollywood in quest 
of whoopee 

The only drag that Jeanette Loff — 
just above — has ever resorted to to win 
her present eminence is one from a 
cigarette — and that only when re- 
quired for a scene 




All the Gossip of th( 



the fan magazine writer, "I have found a really intelligent movie star. She 

wonderful — well bred, sophisticated, intellectual." And his conversation grevj 

more and more profound. At last, as they toyed with the squab course, hi- 

interrupted a monologue on socialism to say, "What do you think, MisJs 

So-and-so?" The star lifted rapt eyes. "You've said it, kid," 

beamed. 

What Suit Shall We Wear? 

gMIL JANNINGS'S valet has been with him four years and ha. 5 i 

completely identified himself with the actor's interests, always 
speaking of him as "we." "When we were making 'Faust,'" hii 
says, "we were hardly fit to speak to we were working under such a 

strain." On the set the other day he exclaimed, "I hate the old man w.? 

are playmg in this picture." 

Fitie Feathers and Feelings 

'T^HIS is told about an ex-musical comedy queen now playing 
in the movies. A wealthy boy-friend took her shopping the 
other day; and in their little stroll bought her four fur coats. 
She was telling a friend about them. "And, my dear," she con- 
fided, "he wanted to buy me an automobile, too, but I wouldn't 
let him. I didn't want to be under obligation to him." 

Tlie Everlasting W hisper 

'T^HE microphone is going to break up some lifelong friend- 
ships. The other day a friend of a certain star strolled onto 
a sound-proof stage to watch him work. At the end of the scene 
he whispered something to the director. The party adjourned to 
the projection-room to listen to the result. "How did you like 
me.?" asked the star. "Marvelous, my boy. Your voice is simply 
wonderful," said his friend. The scene was run. At the end, 
enormous, sepulchral, filling the room with vast sound, came a 
whisper, "I think he's lousy, don't you.?" 

A thing of beauty is 
a Joyce forever — 
and vice versa. This 
glimpse of Alice 
proves it 

F L. Roy a 




Buddy and his buddy — his best 
one, in fact. Young Mr. Rogers 
listens with a trace of skepticism 
to Mike's account of treeing three 
cats at once 

38 



A Daniels in her own den: Bebi 

making sure that the laughs in he 

next comedy won't come from tl: 

way her hair looks 




Stars and Studios 



Copyrighting the Whistles 

■^OW comes the talkie contract. At one of the bigger studios the fol 
lowing phrase is inserted in all the contracts nowadays: "And tin 
producer shall have the right to the player's voice and to all other sound; 
emanating from his body." 

De Mille's Demeanor 

'T^HE William de Milles may be modern married folks, hut the now M 

de Mille hasn't hem able to keep her maiden name around the 
studios. "William says," she explains, "that he simply cannot go 
around introducing me to people: 'This is my wife, Miss Clara 
Berenger.'" 

Driven to Extraction 

AT a movie party lately a concert pianist and her husband, 
a Hollywood dentist, were guests. After dinner, the hostess 
— a picture star noted for her private economies — approached the 
pianist. "Oh, Mrs. So-and-So," she beamed, "we do hope you 
are going to play for us this evening." The pianist smiled regret- 
fully, "Oh, I'm so sorrjs" she said, "but I didn't bring my music. 
However, I don't doubt that my husband would be glad to entertain your 
guests by pulling a few^ teeth." 

Three Houses Jf^anted 
^■JLS ASTHER likes solitude — which is one thing even the richest actor 
can't have in Hollyv^-ood. "A man needs three houses here," said Nils dis- 
pairingly the other day. "one to live in himself, one for his own friends and one 
for all the other peoples'." 

Across from Warner Brothers Studio is a cafe recently renamed the Vitaphone. 

"OUR FOOD IS THE TALK OF THE TOWN," says a sign, to which a passer-by 

{Continued on page gf) 



An outstanding style in skirts, 
this one on the right; and while 
it is not novel, it has — because it 
encloses Clara Bow — its full 
complement of charm 






Lifting the lid in Hollywood leads 
to another sensation, a husband's 
strict observance of the formalities 
toward his wife. But it's not a 
surprise, for the two principals in 
the case are Mr. and Mrs. Wallace 
Dyat Beery 



R. H. Loui 



A devoted Nils Asther fan who 
has never seen him on the screen. 
And one who, even if he had, 
would never put his affection in 
writing. His name is Teddy 



39 




B 



(ARBARA LA MARR 
took her final curtain at 
twenty-seven. Twenty- 
seven, when, instead of 
life irisingout on her, it should 
have just been opening wide, 
filled with the things which come 
with stardom and money and 
fame. 

together with a few 
intimates, Barbara La Marr 
knew the grim hand which 
turns the crank on the camera 
of life had allotted her just so 
much footage, and no more. 

She had a hunch that she 
would die young, a hunch ex- 
pressed more than once to 
those who knew her well. And 
playing this hunch, she reached 
with eager, feverish hands for 
life, determined to enjoy to the 
fullest, love, excitement and 
pleasure in the few short years 
marked down for her in the greatest 'script of all. 

She died as she had lived, in a flash. She streaked 
meteor-like across the Hollywood horizon, flashing out 
of the unknown, sparkled dazzlingly in a sky filled with 
meteors, cu-tting a spectacular swath through the movie 
firmament and faded out, swallowed by the blackness 
which engulfs all meteors, no matter what their brilliance. 

Hollywood is accustomed to dazzle, to sparkle. In fact, 
it thrives on pyrotechnics, even though the radiance shed 
by the average human planet is about as lasting as a ferry- 
boat shine. But the La Marr brilliancy was of a diflPerent 
kind. From the time that the white oval of her face, like 
the petal of an exotic flower, focused the attention of 
Hollywood and the world alike on her through that star- 
tling performance in Rex Ingram's "Trifling Women," 

40 



lyleteor Called 
LA MARR 



The Scintillating Rise And 
Sickening Tragedy Of The 
Woman Who Was Too 
Beautiful 

ByBERTENNIS 

until the news of her death 
headlined the front pages of the 
world, Barbara La Marr never 
lost her lustre. 

TO THE FORE IN A FLASH 

OTHER movie idols have 
risen and fallen while her 
light was burning its brightest 
and since it has dimmed, a tmy 
flame kept alive in the memory 
of her intimates. But none 
achieved the brilliancy of the 
girl who shot from cabaret 
entertainer, bit player in a 
vaudeville act and obscure 
scenario writer, to become the 
most sought after star of the 
screen in less than two years. 
From Ford to Rolls-Royce, 
from fake necklaces to diamond 
bracelets reaching from wrist to 
elbow, from furnished room to a 
Whitley Heights mansion, from 
unknown Rheatha Watson to 
world-famous Barbara La Marr 
— all in a flashing, fiercely lived 
moment of life which ended as 
abruptly as it began. 

Strange as it may seem, 
that's the way Barbara La Marr 
wanted it. I knew her perhaps 
as few others did. As her personal publicity man from 
the day that Arthur Sawyer picked her from the Holly- 
wood mob as star material, until death supplied me with her 
final press notice, I found her to be a unique and the most baf- 
fling personality of a long array of men and women about 
whom I have written and lied during the past fifteen years. 
There was no reason to lie about Barbara La Marr. 
The girl was sure-fire copy. Everything she said, every- 
thing she did, even to her dramatic passing, was colored 
with news-value. A personality dangerous, vivid, attrac- 
tive; a desire to live life at its maddest and its fullest; a 
mixture of sentiment and hardness, a creature of weakness 
and strength — that was Barbara La Marr as I knew her. 
At twenty-five she knew every phase of life — the sordid 
{Continued on page g^) 



Before and after taking the drastic measures she 
must for reduction and which contributed to her 
so premature death : Barbara La Marr. Hers was 
not only an orchid-like beauty but also an orchid- 
like frailty 



\wt 


r 


'^ 


.-? w^ 




^^^1 






''^^^H 


^^^^^^^^^^^■^^^^^^^^^^^^^^ 


]ll 


■1 



flapper and ^elle 

Madge Bellamy undertakes to personify the difference between the modern girl of this, the 

whoopeeriod, and the young woman of a generation ago, when tandems were the last word 

in unconventionality. And she pictures also what each thinks of the other 



iVl3,ri No M^man 

Can Vamp 

You Know HimWell,Though 
Not By His Real Name of 
Sameniegos; And There's a 
Reason For His Resistance 

By DOROTHY DONNELL 



CAZAZAROSSI, sung by Samen- 
iegos." 

That is the way it will read on the 
programme of "La Tosca" when the 
audience at the Berlin Opera turns to 
seek the name of the new singer, a 
slender, boyish figure in the monk's 
robes instead of the tubby German 
tenor of tradition. 

Sameniegos. A sonorous, mouth- 
filling name for a grand opera singer, 
a name that will sound well after the 
Bravos! Hochs! and Vivas! with which 
the generous foreign music-lovers greet 
their operatic favorites. 

■"Sameniegos.? Who is he.'' An 
American, you say! He is as handsome 
as a young Apollo. Now God be 
thanked, one need not close one's eyes 
in the love-passages!" 

"Sameniegos.'' An American with 
that name and those eyes.? And he 
can sing, too. Where has he been 
studying.? He would be marvelous as 
Lohengrin.''^ 

At last here is a tenor to play the 
romantic lovers of grand opera. Even 
stage moonlight cannot disguise the 
fact that most passionate outpourings 
of vocal love emanate from middle- 



il 



,M^''^ 



^ -:^2^ 



aged gentlemen with tummies which 
velvet cloaks and chain armor cannot 
hide. But here, young, dark-haired, 
fiery-eyed, with the body of a Greek 
athlete, is the virginal Pelleas, the 
swashbuckling Duke of "Rigolet- . 
to," Lohengrin, the white-souled; 
Tristan, greatest of lovers; 
Lieutenant Pinkerton as he 
must have looked when he won 
the alien heart of Butterfly. 
Sameniegos, the new grand 
opera star! Why has no one 
heard of him before.? Samenie- 
gos — what is he to Hollywood .? 

IDENTIFIED IN PARIS 

I AST summer a young man 
^ in an American-cut suit 
stood in the ticket line at the 
Paris Grand Opera. A French- 
man, leaning against the wall 
nearby, stared at him intently, 
and at length touched him on 
the sleeve. "What is your 
name. Monsieur.?" 

In French as good as his 
own, the young man answered 
courteously, "My name is 
Sameniegos." 

The other turned back the 
lapel of his coat revealing a 
glittering badge. "You'd bet- 
ter come clean," said he — or i 
the French equivalent — "I j 
can't be fooled. I'm a detec- I 
tive and my business is to 1 
{Continued on page 104) 

Pictorially, he is equally effective in 
a scowl or a cowl. Sameniegos, a 
screen star known by another name, 
as he will appear in opera as, above 
— Lohengrin and — ^ at the left — 
as the monk in "La Tosca" 



42 




^he ^ight^^ngie 



Antonio Moreno has taken it both in choosing Billie 
Dove as the one to make love to, and in the making love. 
And it may be said that rehearsals of this sort for "Adora- 
tion" are, while an armful practice, nevertheless de- 
lightful. Antonio is having a Dovely time Billieing and 
cooing 



Th 



''Jjove Jjfe 



Like Kiki, She Says You Can 
Never Love The Same Man Twice 



I might hang on for a moment. A chap leaned over and said, 
"Get in." 



R^ 






During one of her many estrangements from 

her husband, Kenneth Harlan — in the corner 

Marie Pre vest turned for solace and 



E"E. I believe this is the most 
misused word in the English lan- 
guage. Especially, perhaps, do we 
misuse it in Hollywood. Every time 
a woman goes with a man it seems to mean 
that she is in love with him. I do not believe 
that we can really love more than two or 
three men in our lives. That is, really love. 
Love carpe to me first when I was sixteen. 
Love usually comes to a girl during that 

first bloom of adolescence when she is dream- ^,^„,,^ ^.^^.o,. uv»...^v^ .^. o^^.^v,^ ^.^^ 
ing, romancing, building air castles around sympathy tothe'late WaVd Cranej'ustTabove 
her future. She is searching, perhaps un- 
consciously, but nevertheless searching, for her heart- 
hero. I sometimes think that it doesn't make much 
difference who the man is at this period. Her imagination 
weaves a mythical halo about him and creates in his 
person the form of the one she has been searching for. 

I was in Balboa on location. Vera Stedman was with 
me and kept urging that I meet a certain dark, curly 
haired youngster. I pretended I did not wish to meet 
him. We always pretend that we have no interest in boys 
during the first awakening of our love yearnings. One 
day, there was a boat regatta. I was swimming in the 
bay from one yacht to another. You know, I was one 
Mack Sennett bathing girl who did know something 



ADVENTURE LENDS SPICE 

EALLY, that's all there was to it. That's the way it 
is when your soul is searching for someone on whom; 
to center your affections. 

We went back to land and Vera said. "Why, 
that was the boy I've been wanting you to meet.'* 
Perhaps, if she had introduced him, it would 
never have happened. But meeting hin} 
myself, well, that made it really ro- 
mantic. It's like Alice White picking 
up a man on the train. If she' ' 
been introduced to him, perhaps 
he'd have meant nothing to her. 
But picking him out herself^ 
gave him that romantic ele- 
ment of the unknown. 

His name was Gerke; we 
all called him Sunny. He 
was twenty-two and Cas- 
tilian Spanish. He was to 
me as Gilbert Roland was 
to Clara Bow. He brought 
up vistas of dark castles, 
bull-fights and dancing 
Spanish ladies. He was likq 
a dream come true. TheJ 
whole thing was a dreamj 
for that matter — the dr« 
of a romantic girl ' 
under twenty. 

I had always lived witl 
my mother. I had not beera 
allowed to go out muchiS 
and when I did come homeJ 
mother was always thera 
waiting. I thought 
would be exciting to gea 
married. Girls get an idea 
at this age that marriagel 
means freedom. That it 
means the difference between being a girl who has to 
mind somebody and a woman who is her own master. 




THE SECRET CEREMONY 

SUNNY wanted US to be married. I thought it would 
be exciting. It not only meant this longed-for, imagi-. 
nary freedom, but in our case it would mean sharing a big 
secret. Since a small child, I had loved secrets. Ahd if I 
were married at this age, I couldn't tell anybody. Oh, I 
don't know exactly why, but those things that are different 
always appeal to a woman. We slipped off to Oceanside 
and were married. We didn't tell anyone. For thre 
years not a soul knew we were married. Even Phylli 



about the water. I drew up beside a yacht and asked if Haver, my best friend, was never certain. She used 
44 



Story of 

Marie P 




arie JTrevost 



As Told By Marie Prevost 
to RUTH BIERY 



Wtr: fv 






Marie Prevost calls the men she 
dances with casually "laugh partners" 
and mentions as examples James Hall, 
at the left; and Ben Lyon, above 



JH^HUjr say, "Marie, I know you and Sunny are 

^M^^JHV married." But she said it so often that she 
^■PBPlP proved she didn't know but was just trying 

,_„„_^ to make me admit it. 

Alexander At first, it was truly thrilling. He was a fine 

fellow, and with the halo I had created about him and the 
excitement of the secrecy of being married, I walked on 
clouds of happiness. It lasted eight months. I don't 
know just what happened to break the illusion. Nothing 
specific. Just what is it that turns clouds from 
beautiful, fluffy billows to dark threatening storm- 
containers.? But suddenly the dream was over. I just 
knew I was married and I couldn't even tell anybody 
about it. Jack Gilbert says that he couldn't realize 
that his first wife was his wife. He couldn't seem to re- 
member how she secured that position. It was the same 
ay with me. I just couldn't understand why I had him. 

LIES AND MORE LIES 

I REALIZED I had done wrong, but I didn't 
know how to get out of it. I had lied about 
my age. I had lied to my mother. I had lied to 
mv friends. My life was a bunch. of lies entan- 
L'ling me like the threads of a spider web enmeshing 
I fly. And I had no more chance of cutting my 
way through my web than the fly has through 
his. Sunny wanted to tell everybody. He wanted, 
man-like, to announce it to the high heavens. I 
spent months of being afraid that he would tell 
people. A clandestine marriage is wonderful as 
long as it is exciting. But when the excitement 
is over, it is horrible because you have no way to 
turn to get yourself out of it. At that, it wasn't 
so bad until I fell in love with someone else. It 
was four years later, when they called me at 
Universal and said I was to play in a picture with 
{Continued ov page 1 16) 



ry This On 




Norma Shearer Furnishes 

Yor Margueriteln" Fans f ; 

Is Furnish 

Scientific statements to the contrary, daisies 
will tell. The trouble is that what they'll tell 
isn't always to be believed. For see how de- 
lighted Marguerite is — in the two largest pic- 
tures — with her floral divination. And then 
see — in the two in the upper corners — to what 
a plight her credence brought her 



Tour \^o 



^prano 



The Proper Poses 
All You Need Do 
The Song 

A maiden's prayer that went unanswered: 
Miss Shearer, as the happy and then hapless 
heroine of Gounod's opera, pleads — at the 
right— that the bliss she has known shall for- 
ever continue. In the corner at the bottom of 
the opposite page, Marguerite waits in the 
moonlit garden for the coming of her lover 




^^^ All -Star "^tate 



crats 1 
up Lai 

AV 
that's 
desert 
Follie: 

Loc 
There 
sideo 
but! 
It's r 

Sh 




Stars from the 
Lone Star State, 
are beginning at 
top, King Vidor, 
Jacqueline Log- 
an, Mary Brian, 
CorinneGriffith, 
Florence Vidor, 
Dorothy Devore 
and Madge 
Bellamy 



days after that. 1 ne 

(Continued on 
^^ pa^e no) 





POLA NEGRI SANDWICH 
Creamed chicken on toast sprinkled 
with grated Parmesan cheese and 
paprika, served piping hot. Splendid 
for a feminine luncheon party. This 
is the favorite sandwich at the 
Montmartre lunch hour 



VIRGINIA LEE CORBIN 
SANDWICH 
Sliced chicken covered with mayon- 
naise on toast, with slices of tomato 
which have stood in French dressing. 
Serve very cold 



GLORIA SW ANSON SANDWICH 
Egg and sweet com cooked in a sort 
of flat omelette and put between two 
slices of buttered toast. Serve very hot 



In the center is Dorothy Lubou, our 
staff writer and special eater, just 
before falling to with a snarl upon a 
Charlie Chaplin sandwich; and, above 
her, Eddie Brandstatter, inventor eind 
christener of the several dishes here 
displayed 



THE STAR SANDWICHES OF THE MONTMARTRE— Why Not 

give a party and serve sandwiches named for the movie stars? 
Here are the recipes, as used in the famous Cafe Mont- 
martre in Hollywood where the picture people lunch and dine 




e 

M,C 



ountenancing 



olman 



QB 



OH, Mr. Colman, why that look? 
You can't walk up and ask a man that. 
But oh, Mr. Colman, why the brooding eyes, 
the sometime-fretted brow, the eloquent eye- 
brows, the quizzical, ironic mouth.'' What soul-cataclysms 
have wrought that Colman countenance.'' What tremen- 
dous earthly forces have been at work to hew that ex- 
pression \ 

That's what us women want to know, Mr. Colman. 
No man is hero to his valet. He has to be hero to some- 
one. Therefore every man must be hero to himself. When 
he ceases to be hero to himself, it's time to call the coroner. 
Even that dear old instinct of self-preservation can't hold 
up under everything. Tell us, Mr. Colman, of the conflict 
of this inner Ronald who has made the outer Ronald what 
he is today. 

Mr. Colman, why that look.'' 

Ronald grinned. No slow, tortured smile, this; no painful 



Ronald Is Asked How 
He Got That Way 

By DOROTHY SPENSLEY 

acquiescence. Just a broad, appreciative grin. 

"It's God-given," said Mr. Colman, hoisting 
a jaunty yachting cap to the back of his head. 
He wears it in "The Rescue," a Conrad sea- 
faring yarn, in which Ronald plays a salty 
gallant who succumbs in the final reel to the 
lush charms of his new leading lady, Mile. Lili 
Damita of that country which was once called 
Gaul. But aren't we all human? 

Oh, good! A religious quotation, Mr. 
Colman! 

Neatly, he pricked that bubble. 

BORN WITHOUT A MUSTACHE 

R you might blame it on evolution." No 
brooding eyes here. Rather, a friendly 
twinkle. The eyes of one who looks at the 
world and finds it well. Finds it well as long as 
the world stays put and doesn't come poaching 
on his preserves, demanding autographs, pho- 
tographs, after-dinner speeches among stran- 
gers, and other pestiferous nuisances. 

Ronald considered. The reverie was broken 
only by Mr. Herbert Brenon 's Gallic words as 
he directed Mile. Damita. 

"I suppose experiences do leave their marks. 
Subconsciously at first, I should say, rather 
than outwardly. Eventually, the subconscious 
' asserts itself, in, perhaps, facial characteristics, 
mannerisms." 
You can't sow a field without making furrows. 
"I can't think of anything that has happened in my life 
to leave an indelible mark." 

He was born that way, with that look, without the 
mustache. Cared for in Surrey, on the south coast of 
England, by a mother who had the same facial lineaments. 
By a father, who was every inch a Colman. He played, 
as a child, in Richmond, just out of London, with sisters 
and a brother. They had the same dark eyes, dark hair. 
Two of the sisters are still in England. He saw them this 
year when he went back to the heath after an absence of 
eight years. 

A brother and a sister are in Australia, and so is Mother 
Colman, now. Ronald saw his mother in England when he 
returned, however. 

But that soul-seared look. That Master of Ravenswood 
expression. 

{Continued on page log) 



p 



et Whoopee 

The Best Part of A Premiere 
Showing Is Outside The Theater 



' premiere at which he served as master of 
I Ison retracted his statement. 

know how she sleeps?" he asked, 
se big premieres do not attract the attention 
le time. In a few cases the more established 
lained away from these openings, leaving the 
ger newcomers along, the starr\^ way. When 
•icture comes along the old guard still turns 
Mary, Doug, Charlie, Griffith — all of them, 
othing in the world just like a Hollywood 
ny production employing more than twenty- 
ople) premiere. The nearest thing to it is 
Bailey's circus, with a parade down Main 
the show. 

tom's white tuxedo 
;GHTS in the theater are held in every city of 
1 New York to San Francisco. It just takes 
:o put on the extra trimmings. An opening 
Metropolitan Opera House is no peanut affair. 
Irs. O. H. P. Belmont's pearls are no larger 
• of Gloria Swanson; and Cornelius Vanderbilt 
qualTom Mix for downright sartorial splendor: 
. edo and a several-gallon sombrero. Tom has 
:hes in other colors, too. 

ore sundown, on the evening of a premiere, the 
s begin to gather outside of the theater. The 
• -n Eagle Rock join the Perkinses from Sawtelle, 
,.. : to catch a glimpse of Constance 
/; '.ii; , Norma Shearer, Colleen Moore, 
_„chard Jarthelmess, Charles Rogers — stop 
me, Of I'll go on forever.^ 



Hours before the stars begin to arrive, the street is so 
jammed that they have to call out the police reserves, to 
say nothing of the Rotary Club, the Lions, the Boy Scouts 
and the Camp Fire Girls. 

Motor cars must crawl through a narrow lane of people, 
eager faces plastered against the glass windows of limou- 
sines. 

It is an orderly crowd as a rule. They may push and 
shove to get into the front line, but that is about the 
extent of the disturbance. 

In other cities it is quite conceivable that remarks like 
these might be hurled at passing celebrities: 

"Hey, Gloria, where's the Marquis.^" 

Or: 

"How's the baby, Mae?" 

Not in Hollywood. Never! We take our stars seriously. 

Don't think that it is the tourists alone who make up 
these non-paying guests at a premiere. In the seething, 
dense mob there are studio mechanics, who, like the sailor 
who went rowing on his day of shore leave, want to see the 
stars at play. There are starved extra people, too, drinking 
in this ostentatious display, dreaming that they may some 
day join this parade of luxury. 

GRAUMAN THE GLORIFIER 

SID GRAUMAN is the father of the 
premiere. He started the 

(Continued on page 96) 





No, this IS not Al Jolson playing the title role of "Mammy." It isn't he 
playmg any role at all; but Colleen Moore who, for her appearance in 
Synthetic Sin" has, in so far as hue goes, covered her face with a syn- 
thetic skm. She is registering terror, accentuating the idea by turning 
white around the gills 



v^ 



nmysteriom 
MR. BROOK 

What Can Be Done With 

A Man Who Won't Even 

Damn The Talkies? 



By CEDRIC BELFRAGE 



MY dear fellow," apologized Clive Brook 
in his rich Eton-and-Oxford drawl; "my 
dear fellow: it's really no good at al" 
trying to interview a chap like me. You 
know far too much about me to give me any chance 
to impress you with my exotic personality. I do a" 
my acting on the set, you know." 

Clive was eating strawberry shortcake with me 
(excuse me — I was eating strawberry shortcake with 
Clive) in a corner of the Paramount studio cafe. He 
was wearing a mustache of recent vintage and a 
frightfully dashing scarlet army uniform. As he 
spoke, he raised his right eyebrow slightly less than a 
quarter of an inch and looked at me with a sad ex- 
pression. 

"Now just suppose I were Pola Negri," he went 
on, "everything would be different. Or say I hap- 
pened to be Greta Garbo. In that case I would 
appear from behind mysterious hangings after 
keeping you waiting three-quarters of ar 
hour. You would have heard much about 
me, but nothing definite — only whispered 
rumors that I was a pretty queer sort of 
fish. I would be smoking a cigarette from 
a long jade holder. As I held out my hand 
to be kissed, I would keep my eyes half- 
closed to give the impression that my 
art had left me in a trance. I would 
give evasive answers to your questions, 
such as 'Who knows?' or 'It is written 
in the sands' or 'Yes — and no.'" 



•J r ^ » 



H 



HE IS NOT NEGRI 

E sighed. "But I am not Pola 



Negri. I am just Clive Brook, and 
some say I have only one expression. It 
is altogether too bad." 

"You recall, of course," he went on 
after a pause, "that occasion a few Sun- 
days ago when my small daughter amused 
herself in pouring spadefuls of sand down 
your neck as you were taking a siesta after 
lunch at my beach hut. How can I possibly 
expect you under the circumstances to write me 
up in your magazine as 'this fascinating personal- 
{Continued on page go) 




Two Brooks running down to 
the sea; at the left, Clive and 
his daughter, Faith. Above, the 
star with his wife; and above 
that, without her 




on the 

Or What's Left Of It After 

An Apache Dance 
Belongs to Una Basquette 




Miss Basquette formerly was 
premiere danseuse of the Zieg- 
feld ' 'Follies"; and her perform- 
ance of this dance of the Parisian 
underworld, wherein a girl must 
suffer if she syncopate, has all 
the lithe grace and savage in- 
tensity of the genuine, look- 
for-this-signature - on-the-label, 
article 



(djallroom 




The girl with three successful careers begins ainother. Lila Lee first became 
famous, at the age of eight, as Cuddles, in Gus Edwards's vaudeville revue. 
She abandoned this to enter the films — and then the films to devote herself to 
her boy, James Kirkwood, Jr. Now, at twenty-three, she is for his sake to 
resume her remunerative professional activities in the new field of the talkies 



(2)he's Young 

^nd She Can 

Prove It 



Lila Lee Was Wallace Reid's 
Leading- Woman — at Fourteen 

Bv HELEX LOUISE WALKER 



I WAS born in 1905. And I can pi 
Thus passionately speaks Lila 
Lee. who suffers of late from 
the reputation of too great an age. 
Not that she looks it, you under- 
stand. But somehow it has got 
around that Lila is — well, getting 



She resents it. Who wouldn't.' 
She resents it so'strenuously that 
she wired her mother in the East 
the other day and asked her to 
make an affidavit, duly sworn before 
a notary, testifying that Lila was 
born exactly twenty-three, and no 
more, years ago. 

And now Lila carries the affidavit 
about with her and produces it upon 
occasion to wave triumphantly in 
the faces of people who are such 
mean things as to doubt her. 

Age is a spiteful thing in the pic- 
ture business. It is so easy to exag- 
gerate it — if it belongs to someone 
else. 

If an actress has been in the public 
eye for eight or ten years. If she has 
reached that stage where you take 
her for granted as one of the prom- 
inent players and you remember 
that you have been taking her for 

granted for a long time — and you cannot recall exactly 
when you began to hear of her, your tendency is to date 
her beginning further back than she deserves. Particularly 
if you are a woman. The fact that you cannot remember 
just when you began to hear of her leads you to believe 
that it was a long, a very long time ago. 







. A, y^.y-Jr 



4ri 



< </t^ » ■■» -/ ,. ^>^ <^^ 



./U< 



^Mii<^£d^ 



Above, Lila Lee a 
the age of eight 
when she was ii 
Gus Edwards's re 



left, today, at 
twenty-three, 
with candles and 
a birth-certificate 



years to anybody's 
appearance. And did. 
But Lila is worse 
off than the girls who 
merely began to work 
in pictures at an early 
age. Lila was on the 
stage as a child and 
has been known to the 
theater-going public 
for most of her life. 

So when someone 
says, "I remember 
Lila Lee. Why, it 
must be fifteen or 
more years ago." he 
speaks the truth, in all 
likelihood. But unless 
he also remembers 
minus her front teeth when he 



HER CAREER ALONE IS OLD 

MOREOVER, in the early days, 
business was very young, the makers of pictures 
were young, too. Boys of twenty and twenty-one directed 
and produced many of those early efforts. Girls in their 
early teens played leading women — or even vampires— in 
grown-up clothes. And the clothes of that period, accom- 
panied by the styles of dressing hair, could add years and 



that she was a youngste 
saw her, he is unfair. 

"The thing that makes me maddest," said Lila, her dark 
eyes flashing, "is when some middle-aged woman with 
grown children of her own, babbles to me, 'Oh, Miss Lee, 
I have always enjoyed your work so much. Why 1 
remember seeing you when I was just a kiddie, myself.' 

"And when 1 murmur that I am twenty-three now — 
hen the picture and I have almost given up murmuring it any more — they 
look at me with that mmm-hmm.^ expression. Any woman 
knows what I mean. They just plain don't believe me. 

"Why, the thing has got around so even in picture 
circles that — well, this happened to me the other day: 

"A casting director arranged to see me about a part in 
{Continued on page ilj) 

59 




By Our Board 




PAY AS YOU ENTER 

/WOULDN'T if I were you. Sorry, but it really isn't worth it. 
Even with the inimitable Louise Fazenda as Mary Smith, the 
presiding spirit of a hamburger stand near a car-barn. Clyde Cook 
is the 'ero, William Demarest and Myrna Loy are the menaces. 
Mary gets mixed up in a trolley accident for which stunt she is 
awarded a thou' as damages. This is enough for William. He and 
Myrna concoct a dark plot. William makes love to iVIary, hoping 
to get his hands on the thou' via the poor gal's heart. He almost 
succeeds. Then comes the high light of the picture. A dancing con- 
test. William and Myrna aspire to win. They are foiled. Mary and 
Clyde cop the cup and decide to live happily ever after. Something 
like that. It really doesn't matter much by way of story or interest. 
A series of gags, that's all, not very good c 




THE ONE MAN DOG 

^DMIRERS of the canine photodrama can safely take themselves 
-/2 to see this one. Rarely is the Wonder Dog seen getting his man 
more artistically than in the latest vehicle for the talents of " Ranger." 
Although the story runs along conventional lines, many of our most 
plutocratic directors could learn a lot about stage-managing a camera 
from the work in this production of Leon d'Usseau, whose second 
successful adventure in the canine picture field it is. Pleasing to the 
eye in the extreme are the various panoramic pine-forest scenes. 
Another eyeful is provided by Virginia Bradford, who seems to have 
made herself quite at home in her first dog opera, and looks enticing 
enough against the wooded background even to make the frantic 
grimacings of the heavy more than justifiable. "Ranger" does what 
he is told throughout the picture, and does it well. 

60 




ADORATION 

/UST another Billie Dove, my masters. Billie, the gorgeous aris- 
tocrat of pre-war Russia, is separated from her husband, Antonio 
Moreno, by the revolution. They all go to the dogs in the half-world 
of Paris, but Antonio more so than Billie because he believes she has 
been untrue to him. Billie sobs her way through several thousand feet 
of film until finally she finds the man her husband suspected and 
makes him own up that as far as he knows Billie is all that a good 
wife should be. This picture of impoverished Russian aristocracy in 
post-war Paris is manifestly movie, and the attempt to horrify us 
with the degradations to which the formerly wealthy ones are placed 
simply doesn't come off. It's just a lot more gowns, negligees and 
close-ups containing the luscious Dove. If you like her that much, 
go to it, brother. But don't say I didn't tell you. 




SOMEONE TO LOVE 



/N which little Mary Brian proves that she has as much S. A. as 
the next one and Charles Rogers enters the ranks of the Great 
Lovers of the Screen. There is one scene where Charley, as the 
enterprising clerk in a music store, takes Mary, the daughter of a 
millionaire masquerading as a poor girl on a picnic in the country 
and chases her playfully (and innocently) through the flowers until 
she trips and falls and — well, Gilbert and Garbo, those veterans of a 
hundred clinches, could learn something from that scene! The very 
inexperience of the two youngsters provides the thrill. Another 
close-up — which will undoubtedly be shortened before the picture is 
released shows the young lovers looking, not into each others' eyes 
but at each others' lips. This story is faintly reminiscent of "The 
Charm School," a Paramount picture made some time ago. 




Of Critics 



?s=l 




NAUGHTY BABY 

r/>^ORTHLESS, save for a couple of creditable close-ups of Alice 
^r White, the star, this effort affords an excellent example of how- 
human material may be wasted in the movies. The cast consists of 
the peppy, "itfull" Alice, Jack Mulhall, Thelnia Todd, I3oris Daw- 
son, (^ieorgie_ Stone and other competent troupers. None of them 
has a blessedthing to do. Even the well-seasoned veteran, Mulhall, 
gawps about with a pathetic "imagine my embarrassment" expres- 
sion. The story has been weighed in the balance and found to be 
three cents' worth of cats' meat. It purports to tell how a coat-room 
girl gets her millionaire. The direction is faltering and amateurish. 
The cutting has been done with an axe, and the titles contribute 
nothing to a perfect day. Alice \\hite, one of the box-office's poten- 
tial best bets, is frightfully abused. 




MIDNIGHT LIFE 

OTILL another version of "Broadway." With hoofers, bulls 



O bootleggers, cabaret stuff and a couple of killings. But despite 
a theme that more than threatens to become hackneyed before the 
real "Broadway" is brought to the screen, this is a very creditable 
picture. It possesses spark and sparkle, is thrilling, plausible, and 
sustains interest throughout its not too lengthy sequences. In addi- 
tion, it is noteworthy in that it marks the debut of Eddie Buzzell, 
diminutive stage comedian, in pictures. Although hampered by 
either bad make-up or poor photography, Eddie shows sufficient 
stuff to warrant another try. The real hero of the film is Francis X. 
Bushman, who runs away with the show as a burly detective chief. 
The heavy r61e is suavely handled by Cosmo Kyrle Bellew, son of 
the matinee idol of other days, a recent graduate from the stage. 




THE SHAKEDOWN 

ZIJERE'S Carl Laemmle's surprise package of the year. Making a 
■L 1 modest bow without any superlatives attached to it, one of the 
first big productions of a former director of westerns, it packs more 
suspense, wallop and entertainment into seven reels than anything 
in recent memory from the I'niversal academy. William Wyler, the 
young Swiss who directed it, establishes himself beyond question as 
one who is going to be heard from in a big way. He has injected a 
degree of intelligence into a fi^ght picture which one would not have 
thought possible. Here, actually, is a new angle on the time-worn 
theme of the bad boy who makes good and wins his mate via the 
knockout-count-of-ten route. James Murray contributes a fine 
performance in the principal rdle, and the rest of the cast are e\ery- 
thing that they should be. Don't miss this one, folks. 




ISLE OF LOST MEN 

^NOJHERof those South StaMandiaiiis leal 
-^ white gal, the convenicntl> ship-wrecked lu n 
bad man — but anyone who has already seen a ^mi 
imagine the balance of the cast without an;^ fmil 
that, there is some interestmg, virdc aition, iik IikI 
numerous da>s adnll on tlu (xc.iii without loo 
. harrowing escape tlii(iii,_li \ i( ions fist li^litiii}; To 
only name that we n<o^,ii/(<l in tlu , ist Th. 
be a remanent of one wliuli lu- ni i(l( (Innnn thob 
Tom and Hobart Hosworth were competing for space in the first 
pictures. It's really a waste of time to go see it but it pulls on our 
heart cords not to recommend it because everyone puts so much 
effort into trying to get the same old gags to go over. 

61 





limy; 




ind a 


hiw 


IS the 


in,.h 


t well 


da>s 


when 



Current Picturesi 




THE CANARY MURDER CASE 

'/■'HIS is a rather more plausible and cleverly worked out mystery 
-t story than most of the shriekies we are called upon to shiver 
through these days. This is partly due to the author, S. S. Van Dyne, 
who writes his detective tales by mathematical formulas, partly to 
an exceptionally adroit cast, headed by William Powell as the 
society investigator, and Louise Brooks who suffers a strange fate 
for the heroine of a movie by being murdered in the first reel. The 
"Canary," a gold digging chorus girl, is discovered strangled in her 
luxurious apartment. There are clues — too many of them, and 
suspects galore. It turns out that there are at least five men who 
have every reason for cordially wishing the Canary dead. The 
denouement is a real surprise, and almost logical, which is more than 
any mystery play audience has a right to expect. Even in the silent 
version — for this will be a talking picture — it was good enter- 
tainment. William Powell with his stage training, his splendid 
voice and his photographic value seems to have come into his own 
at last. Jean Arthur shares the feminine honors with Louise Brooks. 




THE LAST WARNING 

/I MYSTERY picture without sound is like ginger ale without 
-^ gin. It simply hasn't any kick. With the accompaniment of 
screams, dull thuds and sepulchral groans, "The Last Warning" may 
possibly blossom out into a thriller but as I saw it, with the spoken 
dialogue made into frequent and tedious titles and the only sounds 
an occasional bang furnished by the orchestra, it was poor entertain- 
ment, despite the fact that the star and director were the same that 
made "The Cat and the Canary" one of the best mystery pictures 
ever made. This tale is laid in a haunted theater. Trap doors yawn, 
panels slide, ghastly hands are thrust from the wall, two murders 
are committed all for the sake of persuading a stubborn old man to 
tear down the theater and build a skyscraper in its place. Personally, 
I prefer the old-fashioned kind of ghost who wears a white nightie 
and says " woosh-woosh." Laura La Plante has nothing to do except 
look terrified and beautiful, which is not by any means the limit of 
her accomplishments. John Boles, Montague Love, Roy d'Arcy 
and Flora Finch complete a good cast wasted on a poor story. 




A WOMAN OF AFFAIRS 

PERHAPS I am getting old. Or perhaps it is just that Jack 
Gilbert finds a full dress suit hampering to his style of love 
making. At any rate, something was missing in the high-powered 
scenes where he and Greta Garbo show what sex can be at its best. 
The tempo of this picture, adapted with a weather eye on Will Hays 
from "The Green Hat," is decidedly slow and episodic. The locale 
jumps disconcertingly from England to the Continent and back. A 
great deal is said by all the characters about "honor, " a virtue which 
gets everyone into trouble. Diana Furness, the heroine who has "a 
gentleman's honor," allows her own reputation to be tainted in 
order to save her brother's hero-worship for her husband who "dies 
for decency" instead of ■" for purity. " In other words, he commits 
suicide because he is about to be arrested for embezzlement, instead 
of because he has a "loathsome disease" as Michael Arlen had it. 
Douglas Fairbanks, Junior, rather carries off the masculine honors 
for acting. Lewis Stone, Hobart Bosworth and Dorothy Sebastian 
manage to look and behave like well-bred people. 

62 




REDSKIN 

Jy^XHANCED by sequences gorgeous in the colors of nature, and 
^ the presence of Richard Dix in the title role, " Redskin " emerges 
satisfactory, if undistinguished, screen entertainment. The difficulty 
lies in story deficiencies, and the apparent failure of the director to 
develop the few situations offered by the plot. Lacking epic quality, 
more, nevertheless, might have been made of the theme concerning 
the Indian youth seized from his tribe and forcibly educated by the 
white man only to find himself outcast by both races. Dix, the 
"Vanishing American" of another movie season, is an ideal Navajo 
sachem. And he makes the most of the modest histrionic opportuni- 
ties which are offered. Gladys Belmont, former extra girl, does very 
well indeed. But it remains for Tully Marshall, possessor of the 
serpent's wisdom when it comes to picture stealing, to repeat former 
larcenies by packing this one safely away. By far the most interesting 
element is the background: the breath-taking splendors of the 
desert, the enchanted mesa of the Pueblo Indians, and other scenic 
grandeurs have been captured by the camera in color photography. 



SYNTHETim 



11 inn: \vFri< r\r'^< 

knton.o Moreno put. h>s arms 1^ that she ha<l It -' S ' ,,, u n m 

t is funny, as ahva>s, but gets to b. th a l.ou ns 1, k ^,^u h.j^^^ ^^ ^^^^ ^^ ^ 

Ifact that her fun has some t «> u m"ii. x - ^^^^, 

V)nce \ve can nuAe oursel\es 1 1h pl'-i >- I' '"' < "'"'"^' |" l''^^^''' ^^, ^^_ , 

lould cet the lead in a neu j-.^mLiIm ,. . ,""'',,'",,„„",,' lu,s,x.,'l" 



|n ol the .ul-ic't The big 
5 IS a put-up lob to stare 
„either Moore fms noi the 
[ of picture Tolltcn should 
Wdiesare mule Willi un 
likes them, he 11 make uix 



E:;;;';'::':':'^' 


'i .-ul 1.1 1 - 
"IhhJ.lhil 1 


1 .1. lis 
11 mn 
u ill 


li?; 


Vl'u'r -lu in IN 1 


'blushing, he 






e (,i slK.ldm^ t( 11 




ShL 1 


s woilh w it(hin 



J Nothing pretentious, 
I an enjoyable evening. 
Tin ocean liner's stoke- 
J- a scrape from which 
I is, of course, the per- 
1 Windsor. And Jane 
le docks of Singapore. 
J director Blystone has 
Krizations. McLaglen, 
^ctious smile of his and 
Kll his own way until 
thed concertina and a 
lisles. Cook is always 
\ he is in the r61e of 
Jd rendition of "The 
lover threatens to in- 
Mmedy. 



f^.^^ -vL 




NOISY NEIGHBORS 



,ula: 



rHE QuiUan family, late of vuuuy .,.., ^y-^. •■ , - 
ful exhibit as their f^rst tling in the movies. A . 
story, shoddy direction and ungrammatica .^^' '" " 
place the doubtless worthy Ouillans very liii;n m 
ment In anv event, it is diHicult to sec w 
Eddie, who has already won his rclluloid ,s,.i 
sary to leave the vaudeville st.ige, when- ii 

seven seconds and causes one to wonder why they didn t gne her tli^ 
e d RuTsellSimpson seems as doubtful as - t'^t™"- 

Vvhether he is supposed to be a menace or ,^^<^°" l^^'^^^ the 3 

sire to know how con urers pull rabbits out of hats 's tne ^ 
S should take anyone from.hearth and home to see tjj^ 

Rctrcr to stay home and put up with the real thin^ 

Neighbors" on the screen. 



should find it neces- 
.,ii(l they were doing 
,0 where his personal 
and Alberta Vaughn 



^QJourNi 



:hbor 



C. D. Kimball Cor 
As It Is to What 
Aberdeen, South Dal 



ires Hollywood 
lis Home Town, 
cota,ThinksItIsj 



r Call New York the most frantic, London the foggiest, Paris 

Vche gayest city in the world, if you will. 

But Hollywood stands alone in its claim to being the most 

here is a prevalent opinion, of course, that life in this 
^little town, which is at once the son and the parent of Los 
JAngeles, is just one long whoopee after another. 

But this has been contradicted so emphatically that if you 
■ take Hollywood's protagonists at their word, the only sound 
f audible out there is that of church bells, and philharmonic 
concerts in the Bowl. 

Naturally, neither the first nor the second statement is a 
true one of Hollywood. The town, like a tree or anything else 
in nature, or anything that is a product of that product of 
nature, man, isn't either soot-black or bath-tile white: 
it's colored. And there's more than < 



state in the Union i 
no matter where yotij 
getting the real, hoi 
in Ameril 



M 



But who can give you a true picture — 
given such a picture, can you believe? 

Most likely, some one you know. For i 
porting, like word of mouth advertising, i 



in the picture, 
if you are 



jrd c 



belie' 



You'll believe a friend's guess where you wc 
strange expert's printed report. 

For that reason, MOTION PICTURE has sought out a friend 
of yours, a neighbor — provided you live in one of the 
Dakotas, more particularly in South Dakota, and still more 
particularly if your home is in the town of Aberdeen. And it 
has asked him to give for you a true picture of Hollywood, as 
He knows what you think it is, for he's from Aberdeen 
and he's in Aberdeen a good bit of the time. And so he can 
1 tell you things that he knows you'll want to know. He can 
re what he used to think with what he thinks now of 
1, capital. And inasmuch as what he used to think, as 
of Aberdeen, should correspond roughly with whay 
native of Aberdeen, used to think, his story shouljd 
klarly to the point. / 

f course, is only one of a series. It's/ for 
the -jourse of the series ;6very 



AYBE orl 
Holly wocT 
on Sund.'B 
her chei 
siree; not on your J 
where the boys 
actors worse. If it | 
tecting them, the ^ 
jail long ago. Tha 
to stick to it. 

C. D. Kimball toi 
town felt about HcF 
beautiful ^partmenl 
border of the mali 
ten yeaxs or so he I 
Aberd''een's two larj^ 
and 'I'^The Morning! 
ma'iing trips out t* 
nxistaken impressio^ 
takes all his preac3 
salt and waits patiij 

"The Arbuckle 
years ago left 
explained Mr. Kinr 
jovial fellows youi 



l&^ 




i 


I^^Sfe~^22^ 


1 


1 



Boing to be covered, so that eventually, 

live, you'll have the opportunity of 

e-town low-down on the most vivid 

;a— from What Your Neighbor Says. 

—Editors Note 

Jange- blossoms do look beautiful in 
Id, and maybe actors do go to church 

liys, but Aberdeen's got her tongue in 
J; and doesn't believe a word of it. No, 
llife. Hollywood's a wild, wild town, 
Id girls are naughty and the movie 
Iweren't for Will Hays out there pro- 
Thole community would have been in 
(t's Aberdeen's story, and she's going 

Id me all about the way his little home 
lllywood one evening as we sat in his 
J: at the Kenmore Clinton, right on the 
tned community itself. For the past 
I has been the owner and publisher of 
Jest newspapers, "The American N^ 
J American." And for years he haj 
m Hollywood and trying to corr| 
In of his own home town. But Abi _______ ^ 

Ihments on Hollywood with a gram of 

Ijntly for a new scandal to break out. 

Tand the Taylor scandals of several 

indelible impression back home," 

^ o is one of the most regular and 

^er want to meet. He's as 



Say 



BY WALTER 



broadminded and tolerant 
Somewhere around middle a 
a firm handclasp. Personally, 
are O. K. — even as do the 
automobile people or the haii 
that a pretty little town like 
thought of in other parts of 
"On the surface, it's a harmltt 
"That's the real trouble w 
town with a big town reputat 
pens here is magnified out of pi 
As a name, it is classed in the 
and Paris. If a man is murde 
towns, the world shakes its he 
could you expect in a town of 
But let one of Holl\"vvood's hi 
break from the straight and narro 
suffers. They're all branded; it ry > 

PER CAPITA F/ 

HOLLYWOOD has more fam 
find anywhere else. Even witi 
There are hundreds of people here 



\ 



Highlights in Mr. I 
Corriment : 

Hollywood's worst knockers a 
men. 

Women out there dress con 
they must be noticed. 

.Movie actors are shrewder i 
would think. 

You can't make a small-town 
wood is anything but bad. 

Wrongdoing in Hollywood loor 
town itself is so little. 

Hollywood doesn't want to ch; 




who is winging her way high 
ies of favor. "The Madonna 
ue A" is Dolores Costello's 
'^enture. This scene apparent- 
aken where that thoroughfare 
crosses Canal Street 



1 he / 

Lowe- Down 

on the 

talkies 

They Are For Everyone 
Concerned, According- 
To Eddie, Very Good 

By DOROTHY MANNERS 

WITH the talkie panic in full swing, 
Hollywood is more like a psjxho- 
pathic ward than anything else. The 
patients who aren't actuall}^ raving 
are having their voices cultivated. The diaphragm 
is becoming more important than the waist line 
and all the boys and girls who can't sound scorn 
like Ethel Barrymore or a pipe-organ are sitting 
around in corners staring morosely at their torn- 
up contracts. 

In the very midst of this bedlam Mr. Edmund 
Lowe, alias Eddie, dropped off into a gentle 
snooze in one of those easy chairs at the Athletic ....m^^ 
Club. About him, be-muddled actors wandered 
about muttering "ah-ah" and "me-me" in good 
Vitaphone pronunciation. But Mr. Lowe snoozed on. 
"Eddie," said his press-agent, gently tapping him on the 
shoulder, "we are here for lunch." 

Mr. Lowe blinked. He politely stifled a yawn. Then he 
leaped to his feet quickly. "So sorry," he apologized, "but 
it always makes me sleepy to study lines." He thumped a 
stagy-looking blue manuscript that was his spoken part 
in one of Fox's new Movietone numbers. "Just like being 
back on the stage." Then, "What's that funny noise?" 

We went on into lunch. It was only the actors chorus- 
ing "ah-ah me-me." 

SOLD ON SOUND 

"T'LL tell you," said Eddie, "this new sound effect is the 

A most important development that has hit the screen 

since Griffith took the first close up. It's tremendous. 

It's going to revolutionize this business. It's — " 

"The bunk," I rudely interrupted. "I like my movies 
silent." 

Eddie shook his head. If he had been the type, he would 
have probably said "Tut, tut," or "Don't be a donkey," 
or something like that. Instead he said, "Now don't be 
like those people twenty years ago who said the horseless- 
carriages would never be practical. Now that this marvel- 
ous new improvement has come along, we have to realize 
that the movies have just gotten out of the horse-and- 
buggy era. It is actually old-fashioned and limited not to 




welcome these various phones. At least give them a trial." 
"Oh, I guess so," I admitted just in the right tone of 
voice to let him know I wasn't convinced at all. "But they 
sound so squeaky and weak." 

"Naturally. But they will improve. Can't you remem- 
ber when films used to be flickery and muddy. People 
used to say they ruined the eyes. Now look how smoot' 
and perfect photography has become. We must allo\^ 
improvements in sound as well." 

"Maybe so," I replied dubiously. ^^'^^ 

"And it isn't going to stop with sound," Eddie went 
fully warmed to his part in the debate. "The next thr^^ 
will be the perfection of natural colors on the screen. 
Before the little movies reach their peak, they will be mini- 
ature theaters with color, sound and art." 

SILENT STARS ARE NOT DUMB 

THAT gave me an opening to say, "But then they will 
be competing with the legitimate drama." 
"Pooh," said Eddie. "What of it.? Personally, I think 
it will be just the other way around — the theater will be 
competing with the movies. Movies will win because they 
are cheaper and reach more people at popular prices." 

I couldn't think of a comeback for that one. So I 

switched to another angle. "The talkies may be all right 

for you and Conrad Nagel and the Barrymores and others 

{Continued on -page loS) 

67 



^he (^clluloud ©rama 

SOME PREVIEWS OF TALKING PICTURES 




THE DIPLOMATS 

THE Diplomats are Clarke and McCullough in a Fox two-reel talking 
comedy. Aboard an ocean liner bound for furrin parts, these two 
funny fellers become involved in a political situation having to do with 
one of those mythical kingdoms. There is a beautiful Princess-in-distress 
played by Margaret Churchill, a new and very personable Fox find. 
There is the Menace played by Andre Siguerola with a hefty beard and 
his usual suavity. And there is a Grand Duchess capered through by 
Cissy Fitzgerald, who is too grand for words. Clarke twirls his agitated 
cigar and wisecracks his way into the secret service of the little kingdom. 
His curious and somewhat censorable mission is to extract a political 
document from the very grand bosom of the Grand Duchess. In order 
to achieve this scoop, Clarke makes overtures to the G. D., during which 
process he dances the Brooklyn Shake with her. You'll shake when you 
see that bit if 3'ou have any reflex action. It's a riot. He likewise induces 
her to shinny a chandelier and other gymnastic feats. The coy Grand 
Duchess thinks she is reducing. She is amorous and skittish. She does 
reduce, by one document. The Kingdom is saved. 



INTERFERENCE 

THE first of Faramount's audible photodramas, this one attains a 
greater degree of dramatic dignity than has been evidenced in the 
"talkies" thus far released. It is a faithful rendition of the stage play 
performed by as highl}' competent a cast as Hollywood can assemble. 
It at once epitomizes both the strength and weakness of sound films as 
they exist at present. To a great extent dialog replaces action. Thus 
to an audience schooled to visual rather than aural entertainment, the 
drama proceeds with the slow, stately tread of a funeral march. Voice 
and sound reproduction is excellent. Almost too excellent. It is doubt- 
ful, for instance, if the scratching of a pen on paper would so fill a room 
with clamor. In presenting the production on either coast Roy Pomeroy's 
development of "Movietone" sound reproduction is utilized. Too much 
praise cannot be bestowed upon the players. The consensus is that 
William Powell deserves first Jmention. He, Doris Kenyon and Clive 
Brook display the benefits of stage training. Evelyn Brent surprises 
_^delightfully with a voice befitting her personality. "Interference" is 
thoroughly adult entertainment, holding appeal for all intelligence. 





GANG WAR 

THERE are so many combinations these days of silence and sound 
that it shouldn't be surprising to learn that "Gang War" is first all- 
talkie and then part-talkie. In a spoken prologue, two newspaper 
reporters are assigned to get the lowdown on a notorious gang of racket- 
eers; and the story that one of them uncovers is then related in regular 
picture-and-subtitle fashion, with sound accompaniment. Inasmuch as 
in the course of his romance Jack Pickford is a dance-hall saxophone 
player and Olive Borden a dancer; and machine-guns and other weapons 
punctuate the action regularly, there's plenty to hear as well as see. 
It's good entertainment, from and including the prologue. The players 
in the spoken introduction, Lorin Baker, Jack McKee and Mabel 
Albertson deserve as much praise as the principals in the later action. 
The sound reproduction is especially excellent. "Gang War" is worth 
enlisting in. 



THE GHOST TALKS 

THIS feature length talkie from the Fox studio introduces two new 
players to picture fans, a pretty but rather colorless young Chicago 
stage actress named Helen Twelvetrees and a juvenile from Broadway 
named Charles Eaton. Although these two have the leading roles and 
were imported from the stage on the theory that the talkies demand 
players trained to speak lines, Earle Foxe and Carmel Myers are fea- 
tured in the billing, and prove to have even better voices than the stage 
recruits. The plot deals with a youthful hotel clerk who is studying 
detective methods by mail, and a girl who has inherited a haunted 
house. Two separate bands of crooks are after the "papers" hidden in 
the house, and these with a colored comedy team provide plenty of 
action. It would seem that if producers are going to all the expense and 
trouble of making their picture characters talk, they should provide 
better lines for them to say. The dialogue in "The Ghost Talks" is 
hardly worth the real effort it is to understand it for audiences accus- 
tomed to silent pictures. The sets seem somewhat cramped — perhaps 
due to the necessity to keeping the players within reach of the microphone. 




Q)hoppiiig zvith 
Billie Dove 

FIRST of A SERIES 

Revealing- the Practical 

Dress-Secrets 

of Famous Actresses 

By MARIE CONTI 



i f ^k yean- 



HAD always wanted to go 
shopping with a star. I had 
heard so many tales about 
their experiences with the 
irning little shop-girls who 
lit upon them. Clara Bow 
once told me that she always 
shops incognito. She likes to trv 
new places where she is unknown. Oni 
day, perhaps three months ago, she went 
I into Los Angeles to buy some knickknacks. 
The girl who waited upon her could 
not refrain from staring. Soon 
J ' three or four other clerks were 
^ • crowding before her from behind 
the counter. Finally, one of them exclaimed 
loudly, " Do you know that you could double 
for Clara Bow.' Your hair is a little darker 
and Clara is a little heavier, but you look 
remarkably like her." Clara thanked 
them courteously for the compliment, 
made her purchases and departed, 
happy that she had avoided recogni- 
tion. 

I should estimate that ninety per 
cent of the stars have the same atti- 
tude toward their shopping problems. 
I dropped around one morning to pay 
my respects to Billie Dove. She was 
just leaving for the downtown store 
district. "Come along with me. I like 
to have someone go with me because if 
people do recognize me they are not so 
likely to say anything." 

HER VERSATILE VESTMENT 

SHE was on a peculiar mission this 
particular morning. 
"I so often have to go out in the morn- 
ing and then go directly to luncheon and 
bridge or some other afternoon entertainment 
that I just decided I'd design a costume whic' 
could be worn in the morning, fixed up a bit 
and worn right on to the afternoon affairs 
without my having to go home and make 
changes. So I designed this outfit, had my dressmaker 
create it and now I am going out to buy the accoutrements, 





A change into high-heeled 
shoes, the substitution of a 
velvet tarn for the felt hat 
and, with the addition of a 
and a fur-piece, Billie 
Dove has transformed her 
ng costume into one 
quite suitable for afternoon 
or informal evening v 



put them on and 



foot 



.' my double 

costume works. How do you like it'" 

It looked clever enough to me to be 

worn as an afternoon costume without 

any trimmings. Fashioned of black 

velvet with a plain circular skirt, a 

cape coat and a smart tailored 

blouse; black gloves, a semi-tailored 

felt hat; flat-heeled shoes of black 

kid and a tailored bag to match the 

apparel. 

"I always go to shop where I am well known so they 

don't make any fuss about me. There are four or five 

stores in Los Angeles which I simply will not enter because 

the floormen and salesgirls come rushing over and say, 

'May 1 show you a new rug. Miss Dove.'' We have some 

V hats .' When I go shopping I know what 

I want and I like to be treated just as any other woman 
who goes out to buy for herself or her family." 

THE DRESSIEST 

LLIE did know what she wanted. We went first to 
the flower department. "A morning costume doesn't 
need a flower, but an afternoon outfit must have one," she 
remarked. "I want something in white, small and rich," 
she ordered. "Black and white are always a chic combina- 
tion." 

(Continued on page Jl8) 

69 



(Qack 




in the 



In the topmost picture, Alice Hollister and 
again, in the one below, between Harry Mil- 
lard and Anna Q. Nilsson. On either side 
of Charlie Murray, next below, are Fred Kelsey 
and Tully Marshall. The girl in the center, just 
above, is Norma Talmadge; and at the right, 
Del Lord, Billy Bevan with Keystone girls 



70 



Von Stroheim's Salary j 
And Marie Prevost 

By RUTH M.TILDESLEY 



NO one knows what he may meet on the high- 
way of tomorrow, but oh, the vista down 
Memory Lane! Tears may have misted the 
landscape while he was strolling through that 
lane, now so dear and familiar, but it is seen in retro- 
spect through the sunshine of smiles. 

At a recent dinner in Hollywood, Commodore J. 
Stuart Blackton and Florence Turner, "The Vitagraph 
Girl," vied with one another in telling tales of the dear, 
dead days beyond recall. The motion picture industry 
may be only a matter of twenty-odd years old, but a 
decade or two is long enough to paint many a picture 
on memory's walls. 

Back at the beginning of this century, Blackton and 
Albert E. Smith, another young adventurer, founded 
the Vitagraph Company and built the first real studio 
with a glass roof, concrete walls and a stage inside. Two 
years later, a stock company was formed with the 
pretty dark-eyed Miss Turner as the pioneer member. 
"I remember how excited I was when the 'phone call 
came asking me to be on the lot the next morning ready 
to work," said Florence. "A grufF voice told me to 
come made up as the wife of a man who had a bad cold. 
'How w-would such a w-woman dress.?' I stuttered. 
'Come as you are,' he growled. I had just stepped out 
of the bath tub. 

"You know in those days actors didn 't just act. There 
was no such animal as a cameraman. Mr. Blackton and 
Mr. Smith took turns grinding the camera. And all the 
men helped make the sets. One day the commodore, 
came in and found me hard at it nailing away on some 
scenery under Ralph Ince's direction. 'Why, Flor- 
ence, you're not expected to do this,' he 
said. 'But I love to; I'm perfectly mad 
about this business,' I told him, and 
that's the way we all felt. 
"We got there at nine in the morning 
and had finished one picture by eleven- 
thirty; another was easily polished off in 
the afternoon. But I was ambitious. My 
aunt had played Francisca da Rimini on 
the stage and I was wild to try it on the 
screen. So one night I sat me down and 
wrote a script for it. Just like that; 
tossed it off, you might say, in an hour's 
time. Then I took it to my two pro- 
ducers. 'Those costume plays are 
out,' said Mr. Smith, in horror. 'I 
figured on them. Two hundred dol- 
lars they'd cost, mind you.' Still, I 
stuck to my guns and we ended by 
making it. It took two whole days 
to make and I got [ten dollars for 
my work and five dollars for the 
story." 



T>nys'Xl)h 



Was Three Dollars A Day 
W as Timid 



Five dollars for an hour's work and ten dollars for r 
days' might alter some girls' ambitions, hut not Floi 

EVERY GIRL NAMED MAY 

SEVERAL years later, Vitagraph paid a little high 
school girl forty dollars for a story. They didn't 
know she was so young, as the story sounded mature 
and was sent by mail. A month or so afterwards, the 
little girl — who is now the well-known scenarist, Agnes 
Christine Johnston — came to this studio armed with 
another story and looking for a permanent job. This 
time they paid her ten dollars, although the young 
Agnes had a shrewd idea the usual price was twenty- 
five dollars. 

"Scenarists were first asked if they could type, be- 
cause the producers didn't want to waste money on 
secretaries, "said Miss Johnston, in talking of the early 
days. "We were also informed that in writing stories 
for the screen, all the heroines must be named M a\ . the 
heroes Joe, the other girl and man Sue and Hill. ^ ou 
can see what we were up against. One da\ . May had 
to be a flighty, flirtatious young person; the next the 
same Mav is a gentle, brave, suffering soul; and the day- 
following an embittered outcast. 

".Another thing they used to do was to rush a camera- 
man and two leading actors over to the scene of a big 
fire or a wreck or a blizzard; let them do whatever 
occurred to them on the spot and then run the resulting 
film off for the writers who had to write a story about it." 

Pat O'Malley bears out this statement, as he re- 
ceived his first big chance through a like occurrence. 

STORIES TO FIT ACCIDENTS 
" T \V.-\S working for Kalem in Jacksonville, Florida, 

X and had never had much of 
a part. On this particular day, 
they were making a society pic- 
ture. I wasn't even in it, but 
was hanging around, dressed in 
my old cowboy boots and army 
trousers. Suddenly somebody 
veils out there's a big fire in a 
lumber yard across the river. 
Everybody jumps into a speed 
boat and makes for the opposite 
shore, and on the way the director 
tells the leading man he'll have to 
dash into the fire and come out 
with 'the papers' in his hand 
You see they knew they'd have to 
write the story aftenvards, but 
it'd be pretty safe to say there 'd 
be some mysterious 'papers' in it. 
"When we got there, we found 
there was a road from the dock 
between two huge piles of lumber, 
but both piles were burning and 
the smoke and flames were fierce. 
((Continued on -page 86) 




At top is Agnes Christine Johnston; be- 
;-\v her, Mary Pickford as she appeared 

n "The New York Hat"; next lower, 
Henry B. Walthall — in the lower comer 

r the group — at a dinner in his honor. 

Just above is Fred Kelsey in the first 

radio picture; and left are Dora Rogers, 

Chester Conklin and Dale Fuller 

71 




^^is Accustomed ^Accoutrements 

You must not think that Barry Norton has gone tango in clothes as a first step 

toward becoming another Valentino. He has arrayed himself thus merely to feel 

at home, for he comes from the Argentine 




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From grand to grind operas has been Polly Moran's 
course. At sixteen — just above — she sang with the 
Columbia Opera Company of Chicago. In the 
center, in a screen comedy role; and at the top, as 
herself 

74 



\^he 's a lolly 
Cjood ^jellow 

The Best Beloved Woman 
In Hollywood Deserves To Be 



By DOROTHY MANNERS 



POLLY MORAN is everything to Hollywood that Texas Guinan 
is to New York — minus the cover charge. 
She's a great, great girl, asthey say over the radio; and 
next to Joseph Schenck she is probably the most popular 
personage in studio circles. And Polly is a personage. She sees aH, 
knows all, goes everywhere. You'll find Polly right in 
mong the corsages at anybody's party. Her quick 
tongue, her Rabelaisian hon mots., her hearty 
laugh, are as sought after as a broad a in the 
talkies. Lately, Bill Haines has been beau- 
ing Polly around to the five-dollar openings 
and other gardenia events, and the com- 
bination of Polly and Bill in one of their 
impromptu skits is just too killing. 

They do take-offs that make Elsie Janis 
look like an amateur. You ought to see 
them do their Elinor Glyn. Or their Cal 
Coolidge. Or their English nobility. Marion 
Davies just rolls on the floor. Even Norma 
Talmadge drops her mantle of dignity to 
chuckle. 

One day a certain somebody with a lor- 
gnette over her nose said to a big star, "Why 
do you have Polly Moran to your parties. 
She's a bit vulgar, don't you think.?" The big 
star didn't bat an eyelash. "I never think — 
bout people I love," she replied with a good- 
sized icicle on every vowel. And that was that. If 
Polly is vulgar, so is the Orpheum. And the heart 
of humanity. 

HER COARSE KINDNESS 

SOMEHOW, Polly is never too vulgar, or too busy, to drop 
in and see people who are sick, or to appear in benefits 
for kids, or to remember people's birthdays. She back-slaps fellow 
players out of their troubles and when they need a little more encour- 
agement than a back-slap she's the first to go down in her pocket book. 
I guess Polly must be somewhere about forty-two or three years old, 
and she's crowded those years with more hard livmg, and laughs, and 
lUsts on the nose than most people crowd into their full span. She's 
s Irish as Paddy's famous porker. You can't talk to her for five 
ninutes without getting that rich humor and spiced accent. She wears 
er hat on the back of her head and drags on cigarettes like a man. At 
imes of any sort of campaign or a charity drive, Polly is the first to 
ack on a button. In the recent presidential election she was loud in 
he praises of her particular candidate. "I should have been a soap- 
orator," she insists. "I'm never so good as when I've got a bunch 



of people to yell - 



{Continued on page il^) 



MOTHER... DON'T BE QUAINT 



MILLIONS of daughters are teasing mothers back to youth 
— shimming doors on the quaint ways of the nineties. One 
by one the foolish old drudgeries and discomforts pass. 
Living becomes easier, more pleasant — sensibly modern. 

An ex.imple of this modern trend is Modess. Modess 
has three vital superiorities — it is really comfortable, can 
be disposed without danger of clogging and is an effective 
deodorant. 

Its comfort is almost unbelievable, the first time you 
try it. Modess is graciously soft, yielding, conforming. 
The filler is not in stiff layers but is a fluffy mass like 
cotton — an entirely new substance invented by Johnson 
& Johnson, world's leading makers of surgical dressings. 



The sides are smoothly rounded and the specially softened 
Johnson & Johnson gauze is cushioned with a film of 
downy cotton. 

The deodorizing efficiency of Modess has been proved 
by laboratory tests to be higher than that of other 
napkins. 

We are sure that you will be delighted to have dis- 
covered in Modess a napkin without fault — infinitely 
more comfortable, safer, more deodorizing and truly 
disposable. Since it costs no more, why not try it? It may 
be bought at most good stores. 




yiodi 



MODERNIZING MOTHER . . . Episode Number One \ 



ess ^ 




so INFINITELY FINER 




Lupino Lane Impersonates The Audience, Too 



3 minutes t>vice a day for teetn 

• • • tnat is ample to protect 

tne oeauty of your smile 




Today, practically every woman 
knows that to preserve youthful' 
ness and charm, it is health that 
must be guarded. So they pay 
strict attention to details of diet, 
of exercise and (as they believe) to 
mouth hygiene. 

Unfortunately, the old-fashioned 
method of brushing the teeth with 
a "good cleansing dentifrice" has 
been proved inadequate. That is 
why so many people suffer from 
tooth decay and gum irritation in 
spite of faithful care. Think of it ! 
To lose beaut)'^ and perhaps health, 
not through neglect, but because of 
erroneous, old-fashioned practices. 

TJiis IS the danger 

The trouble is that while ordinary 
brushing is fully effective as far as 
it goes, it does not go far enough. 
For no tooth-brush can reach into 
all the pits on the grinding surface 
of your teeth, or between your 
teeth along The Danger Line — 
the tiny V-shaped crevices where 
teeth and gums meet. As a result 
food particles collect there. They 
ferment. Acids are formed. Un- 
less these acids are neutralized, 
they cause decay or dangerous gum 
infections such as pyorrhea. 

Since mere brushing alone can- 
not protect you fully, your denti- 
frice must by containing a trust' 
worthy antacid. 




Sqinbo s brings protection 

Squibb's Dental Cream contains 
more than 50 per cent of Squibb's 
Milk of Magnesia, long recognized 
as a safe, effective antacid. When 
you use it, it not only neutralizes 
the acids at The Danger Line, but 
enough remains there to protect 
your teeth and gums against acids 
for a considerable time after use. 

Why should you be content to 
entrust your teeth and health to 
a dentifrice less certain to give 
full protection? The use of Squibb's 
Dental Cream for three minutes 
twice a day is ample to guard your 
health and beauty against the dan' 
gers of tooth decay and gum irrita' 
tions. As an additional precaution, 
visit your dentist twice a year. 

You'll find Squibb's Dentai 
Cream mild and delicately fla' 
vored. Children delight in it. Get 
a tube today. Use it on the gums 
with a soft brush. It will keep 
them in healthy condition. It con' 
tains no grit, astringents or abra' 
sives. Nothing that can hurt the 
most delicate tissues — only the ' 
finest cleansing ingredients and 
Squibb's Milk ■ of Magnesia. At 
druggists — 40 cents a large tube. 
E. R. Squibb 6? Sons, New York. 
Manu/acturing Chemists to the 
Medical Profession since 1858. 

Copyright 1919 by E. R. Squibb S" Sons 







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Your physician, your dentist and your druggist will tell you that Squibb's Milk of Magnesia, from which 

Squibb's Dental Cream is made, is the finest you can buy. It is pure and pleasant to ta\e because it has 

no earthy taste. Its unsurpassed antacid qualities and mild laxative action make it also truly valuable in 

promoting proper alimentation. 



RED-HEADS 




Janet Gaynor, Fox star, says: 
"Lux Toilet Soap makes my 
skin feel so soft and smooth!" 



Clara Bow, Paramount — 
"Lux Toilet Soap keeps the 
skin so lovely and smooth." 




Joan Crawford, M. G. M. — Nancy Carroll, Paramount — 
"Lux Toilet Soap is lovely for "Lux Toilet Soap helps keep 
keeping the skin smooth." one's skin so very flawless." 



• • • such 

yet all screen stars 



Nine out of ten screen stars keep their skin lovely 
with Lux Toilet Soap. 

AN exquisite velvety skin is any girl's great- 
_/~\_est charm, and for the screen star it is all 
important, leading motion picture directors say. 

"I don't know a single girl without really 
lovely skin who has won enough of the public 
to become a star," says William Beaudine, 
director for First National. 

"Exquisite smooth skin is the all-important 
asset of the star who must face into the glaring 
lights of the close-up," Joan Crawford explains. 

The next time you see any of these lovely screen 



BLONDES 



BRUNETTES 




Marion Davies says: "Deli- Esther Ralston, Paramount, 

ciously smooth 'studio skin' says: "Lux Toilet Soap is 

is a great asset. I am delighted excellent for keeping the skin 

with Lux Toilet Soap." delightfully smooth." 



Bebe Daniels, Paramount — Billie Dove, First National 

"Lux Toilet Soap is such a star, says: "I find Lux Toilet 

very great help in keeping Soap delightfully pure and 

the skin smooth and lovely," so very refreshing." 




Dorothy Mackaill, First Na- 
tional, guards her beauty care- 
fully. "Lux Toilet Soap is 
lovely for the skin," she says. 



Anna Q. Nilsson, P. B. O. 
star — "Lux Toilet Soap is a 
splendid aid in keeping the 
skin smooth as velvet." 



Lupe Velez, United Artists 
star, says enthusiastically — 
"Lux Toilet Soap certainly 
keeps my skin velvety." 



Louise Brooks, Paramount 
star — "Lux Toilet Soap gives 
the skin the satin smoothness 
a star's skin must have." 



78 



brunettes - ^ed-heads 

widely varying types 

alike have the vital appeal 
of smooth lovely skin 



^« 



stars in a close-up, notice how smooth Lux Toilet 
Soap keeps her skin. "It gives my skin that 
beautiful smoothness I thought only fine French 
soaps gave," Renee Adoree says. 

Nine out of ten screen stars are devoted to Lux 
Toilet Soap, and all the great film studios have 
made it the official soap for their dressing rooms. 

The exacting screen stars can tell that Lux Toilet 
Soap is made by the French method. That is why 
it leaves your skin always so satin smooth. You 
will also like the way this white, daintily fragrant 
soap lathers so generously even in hard water ! 

AND BROWN HAIR 




Evelyn Bi 
star— "Lux Toil 
is so very pleai 
soothing." 



Para 



Renee Adoree, M. G. M. — 
"Lux Toilet Soap gives my 
skin the texture I thought 
only fine French soaps gave . ' ' 




Mary Brian, Paramount, says: Eleanor Boardman, M.G.M. 

"LuxToilet Soap is certainly star — "Lux Toilet Soap is 

lovely for keeping one's skin excellent for the very smooth 

in perfect condition. " skin a screen star must have . ' ' 



A few more of the lovely stars 
who always guard their skin 
with Lux Toilet Soap - • . 



Mae Busch— Inde 



May McAvoy— Warner 1 
Gilda Graj — Independe 
Lois Moran— Fox 
Mae Murray — Indepenii 



Ruth Taylor— Paramount 
Alice White— First National 
Josephine Dunn— Metro-Gold 

Mayer 
Gwen Lee— Metro-GoId«yn-\: 
Blanche Sweet — Independent 
Lilyan Tashman— Independen 
Thelma Todd— First National 
Mary Nolan— Universal 
Claire Windsor— Tiflany-Stahl 
Priscilla Bonner— IndependenI 
Rita Carewe — Independent 
Kathryn Carver — Independent 
Mary McAlister — Independent 

BRUNETTES 

Madge Bellamy— Fox 
Mary Duncan— Fox 



Lya de Putti— Columbia 
Sally O'Neil— Tlflany-Stahl 
Alma Rubens— Independent 
Virginia Valli— Independent 
Lina Basquette— Pathe 



Alberta Vaughn — F. B. O. 

Fay Webb— Metro-Gold wyn -Mayer 

Barbara Bedford — Independent 



RED-HEADS 



Sally Ellers— Mack Sennet 
VIerna Kennedy— Unlversa 
lacqueline Logan — Pathe 
Marjorie Beebe— Fox 



Doris Hill— Paramo 
Jocelyn Lee— Indep 



Elinor Fair— Pathe 



BROWN HAIR 

Betty Bronson— Warner Brothers 
Sue Carol— Independent 
Betty Compson — Independent 
Louise Fazenda — Warner Brothers 
Doris Kenyon— Independent 
Patsy Ruth Miller— Independent 
Mary Philbin— Universal 
Estelle Taylor— Independent 
Lois Wilson— Warner Brothers 



e CoUyc 



-Fox 



Anita Stewart— Independent 
Marceline Da> — Independent 
Bessie Love — Independent 
Jobyna Ralston — Independen 
Fay Wray— Paramount 
Agnes Ayres — Independent 
Ann Christy — Independent 



Lux 
Toilet Soap 

Luxury such as you have found only in French 
soaps at SOc and $1.00 the cake . . . Now 




FRAN.-— Marian Nixon was 
born in Superior, ^^'isc. Was j-i, ^^^ 

educated in Minneapolis. She is and rej 

five feet one, weighs 109 pounds, and en( 

has brown hair and eyes. Her Picture 

latest picture is "Geraldine," | 

Pathe Studios, Culver City, Cal. 
Was married to Joe Benjamin, 
pugilist. "Gold Braid" was changed to 
"The Flying Fleet," Ramon Novarro and 
Anita Page have the leads. Monte Blue 
at the Warner Brothers Studios, 5842 
Sunset Blvd., Hollywood, Cal. 

IMOGENE GENT.— Barry Norton was 
born in South America. June 16, 1905. He 
is five feet eleven, weighs 145 pounds, has 
black hair and dark brown eyes. He is 
playing in "Sins of the Fathers." Yes, he 
will be glad to hear from you: address your 
letter, Fox Studios, 1401 No. Western Ave., 
Los Angeles, Cal. Thackeray once said, 
"To love and win is the best thing; To love 
and lose, the next best." Cheer up. 

- WYOMING QUESTION BOX.— So 
you're from the wild and wooly. Hold those 
brickbats. Nils Asther was born in Malmo, 
Sweden, Jan. 17, 1901. He is six feet tall, 
weighs 170 pounds, has dark hair and eyes. 
His latest picture is "Dream of Love." 
Write him at the Metro-Goldwyn Studios, 
Culver City, Cal. Claire Adams, at Winni- 
peg, Canada. She is five feet four, weighs 
125 pounds, has black hair and brown eyes. 
Margaret Loomis played opposite Tom 
Mix in "Three Gold Coins." Gloria Hope 
in "The Texan." Pauline Starke, "The 
Untamed," also George Seigmann. 




It may be "The Wolf Song " but it's 

no swan - song for Gary Cooper, 

considering the fan mail which puts 

him first 



RAMONA JUNIOR.— Dolores del Rio 
vas born in Mexico, Aug. 3, 1905. She is 



I five feet four and a half, weighs 
rmits 1^*^ pounds, black hair and eyes, 
idress "Revenge" is her last completed 
otion picture. Send your note to her 
'■ at the United Artists Studios, 
1041 No. Formosa Ave., Holly- 
wood, Cal. She had interviews in 
Sept. 1927 Motion Picture, 
Classic, Mar. 1927-Aug. 1928. 

GRACE GAINS OF YONKERS.— That 
is Neil Hamilton's real name. His inter- 
views appeared in Oct. 1925 Motion Pic- 
ture; Nov. 1925, Cl.vssic. He is playing 
in "What a Night," Paramount Studios, 
5451 Marathon St., Hollywood, Cal. Nena 
Uuartaro plays in "Frozen River, " starring 
llin-Tin-Tin. Eleanor Boardman and Ed- 
mund Burns in "She Goes to War." United 
Artists Studios, 1041 No. Formosa Ave., 
Hollywood, Cal. 

WINNIE WINKLE.— Lloyd Hughes, 
Lucille Ricksen. Frankie Darro and MtitIIc 
Sledman played in "The Judgment of the 
Slorm." Lawrence Gray in "Oh Kay." 
There are three kinds of people in the 
world — the Wills, the Wonts and the 
Cants. The first accomplish everything, 
the second oppose everything, the third 
fail in everything. Leslie Fenton is playing 
in "The Office Scandal," Pathe Studios, 
Culver City, Cal. 

STATE STREET SADIE— Write Anita 

Garvin and Viola Richard at Hal Roach 

Studios, Culver City, Calif. ZaSu Pitts is 

playing in "The Dummy," Paramount 

{Co,ili)n,cd on page 112) 




Sure is a "Dream of Love" 
when Nils Asther plays hero. 
Judging from his mail, there'll 
be no danger of nightmare 

80 



"Adoration" — you said it! 
Billie Dove keeps right on 
increasing the quantity of 
fan mail and male fans, and 
takes third place 



No popularity or beauty con- 
test is complete without 
Dolores Costello. Fourth 
place for "The Madonna of 
Avenue A" 



Buddy Rogers is last but not 
least. He's responsible for 
the new stamps the Post 
Office was hurriedly requested 
to get out 



Li^kta Luck y 
andyoii^llneverniiss sweets 

that make you &C r^^^' 



QrJ'-^ 



Instead of eating between meals . . . 
instead of fattening sweets. ..beau- 
tiful women keep youthful slender- 
ness thesedays by smoking Luckies. 
The smartest and loveliest women 
of the modem stage take this means 
of keeping slender . . . when others 
nibble fattening sweets, they light 
a Lucky! 

Lucky Strike is a delightful blend 
of the world's finest tobaccos.These 
tobaccos are toasted — a costly extra 
process which develops and im- 
proves the flavor.That*swhyLuckies 
are a delightful alternative for fat- 
tening sweets. That's why there's 
real health in Lucky Strike. That's 
why folks say: "It's good to smoke 
Luckies. " 

For years this has been no secret 
to those men who keep fit and trim. 
They know that Luckies do not cut 
their wind nor harm their physical 
condition. They know that Lucky 
Strike is the favorite cigarette of 
many prominent athletes, who must 
keep in good shape. They respect 
the opinions of 20,679 physicians 
who maintain that Luckies are less 
irritating to the throat than other 
cigarettes. 

A reasonable proportion of sugar in 
the diet is recommended, but the 
authorities are overwhelming that 
too many fattening sweets are 
harmful and that too many such are 
eaten by the American people. So, 
for moderation's sake we say: — 

"REACH FOR A LUCKY 
INSTEAD OF A SWEET." 



Constance Talmadge, 

Charming Motion 
Picture Star 



66 



It's toasted 

No Throat Irritation - No Cough 



: 1929, The American Tobacco Co., Manufacture 





A fit but hardly a fitting present were 

the house slippers Susan slipped to Neal. 

They apparently were designed for a 

man with two-way feet 



Cousin Jerry sends a little gift of wise- 
cracks, a volume of Joe Miller's best, 
transcribed from writings on the 
Pyramids 





In sending cigars, one of which Neal i; 
smoking above, Aunt Samanthy did £ 
crafty bit of field work for the £ ' 

nicotine league 
And as for the nightie which — on the 
right — came from Aunt Heppie, it was 
intended as a treat for Neal again to 

have one like mother used to make 

"Plaid but true," said Neal when he 

came upon Sister Lucy's tie for him; 

and he wondered why she didn't send 

some arrows with it 



;^' 




c^y4mong ^hose presents 

Neal Burns Spends Christmas Mourning 



metics 



Proclaim the Artist! 





f) 


M 









Mme. Helena Rubinstein 
World-Renowned Beauty Specialist 

For color, for texture, for 
staying quality, for whole- 
someness, the cosmetic 
creations of Helena Rubin- 
stein are unquestionably 
the finest in the world. 

The Basis of a Chic 
Make-up 

Beforeyou apply your finishing touches, 
cleanse theslcin with Valaze Pasteurized 
Face Cream — the soothing, revitalizing, 
protective cream. It molds the skin in 
beauty (1.00). Valaze Beauty Founda- 
tion Cream makes rouge and powder 
doubly adherent, doubly flattering. An 
ideal powder foundation (1.00, 2.00). 
Now your skin is ready for — 



THE secret of a successful facial ensemble? . . . Make-up that 
is as perfect in texture as in color . . . lipstick that lends satin 
smoothness as well as luscious tone . . . rouge you can blend with 
ease . . . powder so gossamer it becomes one with the skin . , . 

Such are the cosmetics of Helena Rubinstein. For they are the 
creation of one who is artist as well as scientist . . , one who for 
years has divided her life between laboratory and atelier . . . study- 
ing constantly to bless all women with the wondrous coloring of 
immortal beauties. 

When you touch the new Cubist Lipstick to your lips, when you 
bring the glow of Red Raspberry Rouge to your cheeks, when you 
clothe your skin with the gentle fragrant radiance that is Valaze 
Powder, then you realize the magic that lies in make-up. 



Beautiful Eyes 

Accent the Beaut)' of Your Eyes with 
Valaze Persian Eye-Black (Mascara) — 
instantly darkens the eyelashes giving 
them an effect of silky, soft luxuriance. 
Wonderfully adherent, yet does not 
leave lashes stiff or brittle. 1.00, 1.50. 
Valaze Eye Shadow [Com paa or Cream 
in black, brown, green or blue] 1.00, 
Valaze Eyelash Grower and Darkener 
promotes luxuriant growth of lashes 
and brows. 1.00, 1.50. 



Ravishing Rouges 

Valaze Rouges (compact or en creme) 
impart a luscious bloom that actually 
protects the skin! For daytime you will 
choose gay piquant youthful Red Rasp- 
berry and for evening, Red Geranium, 
the vivid, the provocative. For the con- 
servative woman there is the subtle 
Crushed Rose Leaves 1.00. 

The Magic Lipstick 

Cubist Lipstick — Helena Rubinstein's 
newest cosmetic creation. Brings to the 
lips a softness, lustre and beauty rivalled 
only by the rare loveliness of its color- 
ing. In two enchanting shades. Red 
Raspberry for day and Red Geranium 
for evening. To be chic one must have 
both. Smart, enameled cases, Golden 
or Black, 1.00. 



A Powder Masterpiece Water Lily Vanities 



Valaze Powder. Clinging, exquisitely 
textured, subtly fragrant. In a rich 
variety of smart and enhancing shades, 
Novena for dry skin. Valaze foraverage 
and oily skin. 1.50, 3.00. 

It is essential that you visit Helena Rubinstein's 
Salons at this trying time of year, so that your 
beauty may present a harmony of perfection — skin, 
contour, eyes, hands and hair all exquisite. Here 
you -will receive the last -word in scientific beauty 
treatments and expert guidance on home treatments 
and make-up. 



are masterpieces of the jeweler's craft! 
Enameled inJetBlack, ChineseRed,Jade 
Green or Golden. Double compaa 
2.50, Golden 3.00, Single Compact 
2.00, Golden 2.50. 



Your Daily 
Beauty Treatment 

Cleanse with Valaze Pasteurized Face 
Cream (1.00). Clear, refine and animate 
the skin with Valaze Beautifying Skin, 
food — Helena Rubinstein's skin-clear- 
ing masterpiece (1.00). Brace the tissues 
and tighten the pores with Valaze Skin- 
toning Lotion (1.25). Complete treat- 
ment — a two months' supply — with 
detailed instructions (3.50.) 

If there are blackheads, conspicuous 
pores, wash the skin with Valaze Black- 
head and Open Pore Paste Special 
(1.00). This unique preparation gently 
penetrates the pores, ridding them of 
ail impurities. Use instead of soap. 



8 East 57th Street, New York 



PARIS 



Philadelphia, 254 South l6th St. 
Boston, 234 Boylston Street 



670 N. Michigan Ave, Chicago 
951 Broad Street, Newark 



Back In The Days When— 



The leading man, being old enough to know 
better, refused to try it and I begged to be 
allowed to do it. So they gave me his coat 
and I dashed up the road; in a minute I was 
out of sight in the smothering smoke. Of 
course, I was young and I wanted to make it 
exciting, so I stayed as long as I could 
breathe at all. Then I was so hot that I 
came tearing out and 
ended , my run by 
jumping off the dock 
into the water. 'Fine!' 
cries the director, ' But 
we didn 't get the dive.' 
I was feeling pretty 
important by that 
time, so I did it over 

a bit clutching the 
papers when someone 
hit on the bright idea 
of pouring gasoline on 
the water and setting 
fire to it. Luckily for 
me, the director still 
had a bit of sense." 
FORTY MILES FOR 
FAME 

LIKE Ruth Roland 
J on her first day's 
work in pictures. Ruth 
grew up on the stage, 
but her favorite ac- 
tress was Mary Pick- 
ford. People used to 
say to her, "You look 
like Mary. Why don 't 
you go in pictures?" 
So when Ruth came to 
Los Angeles to live 
with her aunt, she de- 
termined to try to get 
in. After losing two 
niarvelous chances, an 

old stage-manager friend of hers helped her 
find a place with Kalem as a leading wom- 
an in westerns. 

"I was so determined to make good and 
I didn't want them to think I was a piker, 
so when they said the first day's work would 
be on location forty miles out, I offered to 
ride horseback with the rest of the company 
instead of driving out with the director and 
his wife," said Ruth. "I was wearing 
heavy woolen chaps. Forty-mile ride there, 
riding all day in the picture and then home 
at night. They had to lift me from my 
horse: all the skin from my ankles to my 
waist was rubbed off. But I wouldn't give 
in, I went to work the next day and every 
day thereafter until the sores healed." 

A few months ago, when Edward Small 
was making "The Gorilla" for First Na- 
tional, two well-known old-timers, Charlie 
Murray and Fred Kelsey, played their first 
scenes together. Charlie Murray started 
with the Biograph back in 191 1 and Fred 
Kelsey 's first picture was made for the old 
Reliance in 19 10. Both these good troupers 
have appeared steadily on the screen ever 
since, so almost every day on "The Gorilla" 
set was a happy trip back along Memory 
Lane. 

Griffith's three hacks 

"p\ON'T you remember" and "Didn't 
\-J you use to? " they 'd exclaim joyfully. 
And Charlie 'd tell about the time D. \V. 
Griffith and his associates went into confer- 
ence for two hours debating whether to go 
to the expense of hiring three sea-going 
hacks, because each would hold five people 
and that would be fifteen actors to pay, not 
to mention the expense of the hacks. And 
Fred would point out that when the call 



{Continued from page Ji) 

came for lunch on "The Gorilla" set, sixty 
two people responded, seven of whom were 
actors, the director and his assistant, the 
rest being technicians; as compared with 
the old days when the technicians consisted 
of one cameraman, one electrician and one 




There is nothing n 

Beery. He's been 

cowing the 



ew or original in the habit of leadu-^ 

famous for getting it in the neck for years, i 
bearded beast in "The Valley of the Giants" 

Biograph players, Mary Pickford, Henry 
Walthall, Arthur Johnson, the Gish girls, 
Blanche Sweet, Mickey Neilan and Harry 
Carey. Mary and her mother and Mr. 
\\'althall formed Charlie's first audience; 
he had come from the stage and was used to 
playing, so he was grateful when they drifted 
onto the set. Mary still speaks of the day 
when the kind Mr. Murray cured her aching 
head. She had been leaning against her 




mother's knee, suffering intense pain, when 
Charlie motioned Mrs. Pickford to let him 
take her place and he gently massaged the 
ache away until the little girl fell asleep. 

Fred Kelsey 's remembrances of Griffith 
were all of the days when D. W. had left 
Biograph and joined Reliance out west. 
" I 'd been wanting to go-west-young-man, 
so when Jim Kirk- 
wood said he was go- 
ing to California to 
direct for Griffith, I 
thought I 'd like to go 
along as his assistant. 
I was making fifty 
dollars a week as an 
actor, but Griffith said 
that was more than 
he could afford; and 
that anyway oranges 
were cheap out west 
and I ought to work 
for less. So we com- 
promised ^on forty 
dollars with them 
paying my wife's fare 
after Griffith asked if 
she could act; and how 
about my baby who 
was seven months oM 
at the time? Later on, 
when he was making 
' Home Sweet Home ' 
with Mae Marsh and 
Bobbie Harron, he sud- 
denly woke up to the 
fact that he was mak- 
ing a picture about 
home and no baby in 
it. ' My God ! ' says he, 
' Home, sweet home 
without a baby ! ' Kel- 
sey 's got one; run 
home and get it. I 
had a fine time per- 
suading my wife to let me have him be- 
cause she had set ideas about letting 
him stay out in the sun, but she finally con- 
sented. And she was the proudest one 
there when the pictu,re was released." 

NORMA IN knickers 

MR. KELSEY spoke of the farewell 
dinner given for Walthall when he left 
to join Essanay. All his fellow-players felt 
sad to see him go, yet the dinner was a gay 
affair of pleasant speeches and happy jokes. 
In the end, they were all overcome with 
emotion and one by one put their arms 
about the beloved actor in a sad farewell. 

Modern fans have forgotten, if they ever 
knew, that Norma Talmadge wore boys' 
clothes in the old Belinda series for Vita- 
graph; that Wally Reid was starred in "The 
Valley of the Giants," the story Milton Sills 
has just re-made; and that the first picture 
involving radio was produced in 1913. 

Dale Fuller will never forget her first day 
on the Sennett lot when she sat from eight 
in the morning until four-thirty in the after- 
noon waiting as patiently as possible for a 
word with the important man. While she' 
waited, she saw velvet-eyed Mabel Normand 
playing tricks on her fellow-players and a 
thin little stick of a girl named Marie Pre- 
vost timidly asking for work. 

"There was one girl on the lot named 
Dora Rogers. It wasn't her real name, 
because she was either Spanish or Mexican 
with the most adorable accent you ever 
heard," Miss Fuller said. "She worked 
frightfully hard, but never got anywhere; 
so finally she marched herself over to Uni- 
versal and announced that she was Fontaine 
La Rue, fresh from Paris. The Universal 
{Continued on page gj) 



__ ■■ choking Noah 
lere's Wallie Reid 
years ago 



Eyehrows liks this in 30 days 




By Lucille Young 

America's most •ividely 
kntnun Beauty Expert for 
fifteen years . Beauty Ad- 
viser to over a million 
txiomen. 

The most marvelous discovery has 
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lashes and eyebrows actually grc-i'. 
Now if you want long, curling, 
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and beautiful, wonderful eyebrows. 
1 know that women will be wild to 
put my new discovery to test. I 
want them to — at my risk. Doubt 
all you want to. It does seem im- 
possible, 1 know. Everything here- 
tofore has failed, But my search of 
years has at last disclosed the secret. 
So now I say to women that no 
matter how scant the eyelashes and 
eyebrows I will increase their length 
and thickness in 30 days — or not 
accept a single penny. There are no 
strings attached to my guarantee! 
No "ifs," "ands,"or "maybesl" New 
growth or no pay. And you are tlie 
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'Proved Beyond the Shadow 
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Kot just a few, but over ten thou- 
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it before this, my very first adver- 
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women some of the most startling , , , , .^ ,. r j ., . ., 

voluntary testimonials ever written, lashes and eyebrows. Now you can |,.^{|^°^|7,;/°^.?^,^^i^3\,^^V=e r 

I print a few of them on this page, have this beauty— impart to your ^e\ponsive to a'ccr^^^^^^^^ 

And I have sworn to their genuine- loveliness this greatest of all single found that this ingredient must 

ness before a notary public. Please charms. ^^"bou" nr---"-''--"'' ---"''- 

note the first testimonial — an amaz- 'Results Noticeable in a Week! accomph 

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and eyebrows. Every one of the merely follow simple directions. The tounding beaut: 

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did so on my guarantee. >lH^ j/o< a l^e a silken fringe. The darling tha„t.£., 

single one has reported failure. On the ^'ttle upward curl sho^ys itself. The my di 

contrary all have been wildly en- eyebrows become sleek and tract- 



'^w Eyelashes and Eyebrows can be made to grow. 
My new discovery MUST accomplish this, or its cost 
toill be refunded in full. Over 10,000 leiomen have 
made the test. I have the most marvelous testimoniaii. 
Read a few here. I have attested before a notary pub- 
lie, under oath, that they are genuine and 'voluntary. 



irvelously 
be applied 



.._ does for thos 
beautiful eyelashes 
have giver 



My Dear Friend: Your e; 



and eyebrows. 



nrld at large. The n 



thusiastic. 

What My Discovery Means 
to Beauty 



You Can Have Proof 
At My Sole Risk 

iber. . .in 30 days I guarantee re- 

;hat ivill not only delight, but 

If your eyelashes and eyebrows do 

tually grow, if you are not wholly 

tirely satisfied you will not be out 

.-- ,.-nny. The introductory price of my 

liscovery is S1.9S. Later the price will be 

■egularly SS.OO. 

Send No Money With Order 



able — with a noticeable appearance 

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have the thrill of a lifetime — know 

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use of my discovery the allotted ama 
To fringe the eyes with long, curling, time. A7td there is instant beauty, too; "ot 
natural lashes — to make the eye- for my discovery combines with its ^"p 
brow^ intense, strong, silken lines! own marvelous virtue the adv-antage 
Think of it. All the mysterious, al- of darkeners. But it does so without 
luring charm of veiled eyes, the messiness and artificiality. It gives 
witchery' and beauty only one worn- the effect, but itself, cannot be 

an in a hundred now possesses in detected. Send no money . . . simply mail coupoi 

full. Merely darkening the eyelashes ^„ Entirely New, Scientific s'l'p? p^s'l^Few «nls '^p^sta'gl'urm 
and eyebrows is a poor substitute. PW«/-;<,/^ wonderful discovery for full 30 days. 

It helps. But what you really desire rnncipie jhen if not delighted, return it and I 

with all vour heart, what every For years, I have sought my discovery— will refund your money without com- J 

1 ' f • ,!• 1 ■^ tried thniisanri=; iinnn thousands of wavs. ment. Mail coupon today to Lucille ♦ 

woman longs for is this marvelous eTttherwere the ways others ha^^^ Young, Lucille Young Building. .«> 

beauty of naturally lu.xuriant eye- \, Uke others, failed utterly. Then I made Chicago, 111. — y^ ^ 

Screen Stars, Actresses, Society # my i 
women and professional beau* **Name_ 
ties please note. You are vitally >* 
interested in this discovery. , ^ St. Address._ 



Frances Raviart. R. D. No.'Z. 
Box 179, Jeamiette, Penn. 

n 

y Lucille 
y Young, 

4* 8512 LucilleYount 




$1 .95 plus a few cents post- 
age. If not delighted, I 
irill return it within 30 days, 
d you will at once refund 
Tioney without question. 



2709 S. Wells Street, 
Chicago, Illinois j 



It with order, postage 



All the Brothers Were Valiant! 






ash had fallen on the last vest they had 
mapped out their plans for making a new 
fortune. Having just lost the savings of 
years in the cinema business, they might 
conceivably have decided to go in for oil 
stocks or horse racing or something similarly 
safe. But motion pictures were their racket. 
In a bookstore window they passed were 
piles of Ambassador 
Gerard's book, "My 
Four Years in Ger- 

making a sensation at 
the moment. 

" If that were filmed, 
it would clean up," 
said Sam. 

"All we have to 
do," said Harry, "is 
buy the picture rights, 
hire some good actors 
and road show it." 

"Let's go," cried 
the four Warner 
Brothers, who had just 
lost their last cent. 
They were back in the 
picture business again, 
having been out of it 
exactly the length of 
time it takes to smoke 
one Havana perfecto 
with a gold bard. 

This started out to 
be the story of Jack 
Warner, youngest of 
the famil}', but any 
story of one of the 
Warner Brothers is 
the story of the four 
of them. Like Lind- 
bergh, none of them 
ever 



(Continued from page 33) 

several rolls of tickets printed in red and 
gold. One of the kids, hanging around the 
stranded show, looked upon these resplend- 
ent tickets with eyes of desire and panted 
home on a run to tell his brothers, all of 
them in their early teens, about the tickets 
that could be bought, together with a tent- 
only a little torn — and a movie projection 




A plarvt which has proved hardier than Hollywood ever thought and which is 
flo'Jnshing today even beyond the dreams of its cultivators is the Warner Broth- 
ers' Studios on Sunset Boulevard 



111". :'acon^ 



. It 



"^^'e did such and such. 
We think so and so." Even Sam War- 
ner, who died suddenly last summer, is still 
included in that loyal family '"we." His 
brothers speak of him without the dread- 
ful finality of the past tense. There are 
still four Warner Brothers. 

IN EACH OTHER THEY TRUST 

THERE is something old-world about 
this loyalty to the family clan, something 
communistic. Perhaps Benjamin Warner, 
the Polish shoemaker, and his wife who 
emigrated with him to America, instilled 
this solidarity of interests into their chil- 
dren. At any rate, the word "mine" was 
never heard in that household. Everything 
from a toy to a coat was "ours." The 
father pawned his one fine possession, a 
watch and chain he had brought with him 
from Poland, for a family bicycle. It is only 
withm the last few years that the \\'arner 
Brothers have bothered with the details of 
legal partnership. They worked up together 
from nickelodeons to a motion picture busi- 
ness worth millions, they made and lost 
several fortunes on the way up without a 
single legal document to show who owned 
what. 

In Sam Warner's will, after provision was 
made for his wife and baby daughter, the 
remainder of his fortune went to his 
brothers. "For," the document says sim- 
ply, "the Warners always stick together 
and trust each other." This mutual admira- 
tion and lack of jealousy perhaps explains 
their astonishing career which began when, 
in 1902, a traveling tent cinema show went 
broke in the small town of Youngstown, 
Ohio. Included among its assets were 



machine — that still went — for the insig- 
nificant sum of two hundred and fifty 
dollars. 

The three elder boys all had jobs. But 
even in those early days they had a marked 
prejudice against working for other people. 
Sam, who was a man-of-all-work in the local 
amusement park, brought out his savings; 
the others emptied their pockets, the father 
of the family was called in — and the first 
Warner Brothers venture into the field of 
motion pictures was launched. The picture 
they showed the towns about Youngstown 
was "The Great Train Robbery." One of 
their sisters played the piano. Albert took 
tickets at the door. Sam ran the machine 
and Jack sang to the illustrated songs in a 
shrill soprano. 

"We've never left the business since," 
says Jack \\'arner with the flashing smile 
that has always been just as ready when 
Hollywood joked about their struggles. 
"Of course, in those days they had to keep 
yanking me away frorn the show to go to 
school. Motion picture producers don't 
have to know much, y'know, but they've got 
to learn a little. In 1903 we ran a store show 
in Newcastle, Pennsylvania. It was next 
door to the undertaking parlors, so we made 
a dicker with the undertaker to rent us his 
chairs when he wasn't using them. Days 
when there was a funeral the audiences had 
to stand up to watch our pictures." 

Twenty-five years ago motion pictures 
were the pariahs of the amusement world. 
Real actors scorned to work in them. The- 
atrical magnates refused to take them seri- 
ously. "They're just a novelty," they said, 
"they won't last." 

There were four people who thought 



differently; Harry, Sam, Albert and Jack 
W'arner believed in the future of these ■ 
splotched, blurred, flickering movies. They 
were willing to back up their belief with their 
time, of which they had a great deaj; and 
their money, of which they had very little. 
They were the first to conceive the idea of 
distributing pictures to the different nickel- 
odeons in their vicinity. 
But just when they had 
begun to make money 
from the Duquesne 
Amusement Supply 
Company, the pro- 
ducers decided to dis- 
tribute their own films, 
and put them out of 
business. 

In 1909 the brothers 
emigrated to New York 
with the high idea of 
becoming producers 
themselves. They an- 
nounced themselves as 
"Warner Features," 
the first independent 
motion picture com- 
pany, and began to buy 
up and distribute !an 
odd medley of pictures 
featuring Valentine 

ard and Gene Gauntier. 
They have remained in- 
dependents ever since. 
The Warner Fea- 
tures flourished, as film 
companies went in 
those days. Jack came 
to California two years 
later, an ambitious 
young producer of eigh- 
teen, and made a pic- 
ture, "Are Passions 
Inherited?" with Dot Farley as the star. 
Such gems of art as these did not make the 
four brothers rich, but they attracted after 
a while the attention of the big boss of the 
movies at that time, the General Film Cor- 
poration. The General Film noticed a num- 
ber of significant things. It noticed that 
none of the Warners wore expensive tailoring 
or sported diamonds in their ties, it noticed 
the steady gaze of Harry \\'arner, the 
strength of Albert's profile, the grim jaw of 
Sam, the unquenchable and sunny smile of 
Jack. It noticed that in whatever these four 
brothers did they thought, spoke and acted 
as one. 

Whereupon the General Film Corporation 
cannily put the Warner Features out of 
business, and then generously offered to re- 
finance them as a part of their organization. 

ON THEIR UPPERS BUT THEIR OWN 

"WS 

or do we work for them?' 

"We stay independent," said Sam and 
Harry and Jack with one voice — with the 
result that 1918 found them walking down 
Broadway, smoking prosperous looking ci- 
gars and discussing confidently buying a 
best seller and making a feature motion 
picture, without a cent in the world. 

"My Four Years in Germany" — for of 
course they contrived, somehow, to make it 
— was timed exactly right for success. With 
the proceeds, the brothers moved upon 
Hollywood. They bought a vacant lot with 
a wooden shed upon it — referred to proudly 
thereafter as the studio; and Jack, in the 
intervals of making comedies with Monty 
{Continued on page g2) 










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Unmysterious Mr. Brook 

{Continued from page 55) 



ity,' 'this mind of a million unplumbed 
facets,' 'this arch-genius of the screen be- 
hind whose iron exterior may lie who 
knows how much that can never be told?' 
I cannot expect it. There was also, if you 
remember, an occasion a day or so before 
last Christmas when my wife inadvertently 
smashed an electric bulb on your head as 
she and you were helping decorate the 
Christmas Tree. 

"No, I'm afraid there's no earthly use 
trying to cover up the fact from you that 
we're human in the Brook family — quite 
appallingly human, in fact. I'm so utterly 
not the type for interviews, as I've said — 
without result — to two other reporters who 
have been putting me through it this very 
day. Why couldn't you interview some of 
these other chaps in the studio? Very in- 
teresting, you know. Mysterious, too, 
some of them. Lots of unplumbed facets." 

CHRONIC UNMYSTERIOUSNESS 

I SHOOK my head. He had to go through 
with it. After all, I reminded him, it was 
for art. 

And yet nothing could take his mind ofif 
the melancholy fact of his unsuitability for 
interviewing. "Do you know," he said, 
"that my lack of the mystery and allure 
that characterize so many of my colleagues 
on the screen is something quite chronic? 
Why, I can't even raise an ounce of myste- 



riousness when it's simply hurled at me by 
romantic married ladies. For some unknown 
reason I seem to be picked on by wedded 
females in all states of the Union and 
countries of the world as a target for long 
love-letters written in secret, unknown to 
their husbands. The effect of seeing my 
face on the screen seems to be that of sending 
these love-starved creatures scurrying into 
dark corners where, while hubbies chew the 
rag over at the club, they pen lengthy 
thoughts of an incredible mysteriousness to 
me. 

"And do you know what I do? I take 
them home and read them over to my small 
girl and my wife around the fireside, or else 
fold them up into convenient tapers for 
lighting cigarettes from the red-hot coals. 
I can't raise a spark of enthusiasm, as I 
really should, to enter into the spirit of the 
game by locking myself in my room to 
return the well-turned compliments of my 
correspondents. I am hopeless." 

He looked at me with a heartrending ex- 
pression of longing. But I stood firm. "I 
must interview you," I said, just as though 
I were saying: "With this hot iron I must 
burn out both thine eyes." 

ne'er A DIVORCE 

"OUT," he pleaded, "if only you could 

-L' realize how completely, how hopelessly 

uninterviewable I am from every point of 



\ icw. Do you realize that ne\'er onre (luring 
my HoUywotxl career have I struggled ami 
prayed for the break that I knew must 
come? Do you know that insteati of 
romantically hitch-hiking my way across 
the continent, I rode to Hollywix)d in most 
prosaic fashion in a private drawing-room, 
with a featured -player contract reposing in 
my pocket? Try to realize what an admis- 
sion this is: but do you know that I have 
never once been divorced? Not even once. 
I'm impossible, my dear fellow." 

1 kept on shaking my head, and my pen- 
cil remained daintily poised over m\- 
reporter's note-book. 

"But you imagine that is all," he went 
on, "and it is only a beginning. I haven't 
even a shred of decent mjstery to cling to. 
For one thing, I always give the same city 
as my birthplace — the one where 1 was born. 
I ne\'er di\'e into the Pacific and come up in 
the middle of the Mojave desert. So far 
nobody has ever found me in mysterious 
circumstances lying semi-nude in a dark 
canyon. I don't arrive at openings with 
strange, ermine-muffled ladies who might 
be Ritzie This or Rosie That; This owing to 
a strange, morbid interest I retain in my 
own wife." 

He noticed my unrelenting expression, 
and desperately played his last card. 

" If you can't see the hopelessness of it 
by now," he said, leaning forward over the 
table, "this will make you. 

TALKIES ARE TRUMPS 
" T HAVE destroyed any vestige I may 

A have had of piquant allure by not 
turning my nose up haughtily at the talkies. 
I actually like the talkies, and I say so! I 
have not remarked that they are a bastard 
art. That popular Hollywood crack, 'Came 
the Din,' has not passed my lips; nor have 
I acquired a single humorous anecdote 
about talking pictures into my after-dinner 
repertoire. Not only this, but I have failed 
to produce out of a hat a long and enor- 
mously successful career as a stage star. 

" If that doesn't prove how hopelessly 
uninterviewable 1 am, nothing will. Imag- 
ine not taking advantage of the talkie 
situation to be mysterious! Where every- 
one else in Hollywood seems to be getting 
pages of publicity by stubbornly repeating, 
'Ves and no, don't you think?' I killed 
any possible interest I might have for the 
public by bluntly saying I liked talkies. 
My severe English upbringing is what must 
have made me like this. Every chance to be 
mysterious passes me by. And who wants 
to interview a movie actor who doesn't seem 
to have a lot of unmentioned skeletons in 
his closet?" 

He finished on a note of triumph, certain 
that at last I must be convinced. 

"All right," I said, crestfallen and frus- 
trated, and banged my reporter's note-book 
shut. "You win. Nobody could write an 
interesting interview with you— not even 
1. I'm going over to interview that tall, 
sardonic, foreign-looking chap over there. 
What's his name, by the way? When did 
they import him? I'll bet he has an inter- 
esting story." 



There does come a sense of regret, every 
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28th of next month — of January — for 
the March 

Motion Picture 

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All the Brothers Were Valiant 

(Continued from page 88) 



Banks and Al St. John, persuaded his stars 
to help him lay a plank walk across the 
stretch of mud — referred to grandly as the 
lot. 

For three years the Warner Brothers pro- 
duced lurid serials, animal pictures and 
short comedies in these humble quarters 
without attracting the envious attention of 
the Hollywood gods. 

Then they flung their first gage into the 
faces of the big fellows. They announced a 
series of seven Classics of the Screen. It 
was the first time that any movie producer 
had considered paying large sums for the 
picture rights of popular novels. "They'll 
never get their money back," sneered the 
Big 'Uns. " They're crazy." .\ huge truck, 
with im.mense books taller than a man, and 
labeled across the backs with the titles of 
the seven best sellers crossed the continent 
from New York to Hollywood. Warner 
Brothers made " The Beautiful and Damned " 
and "Main Street, " and at last found the 
bigger theaters opened to their products. 

They continued their innovations by buy- 
ing the screen rights to Belasco's stage plays. 
They hired the first foreign director, Lu- 
bitsch; they signed up the idol of Broadway, 
John Barrymore. They built a beautiful 
theater in front of the little gray barn. They 
erected their own radio broadcasting sta- 
tion. And still the big boys of Hollywood 
pooh-poohed them. 

In a thousand ways, large and petty, the 
brothers found themselves balked. Cans of 
their film were delayed at the laboratory, 
lost in transit. But their greatest handicap 
was lack of a distributing organization to re- 
lease their pictures. .'\nd one morning 
Hollywood woke to find the headlines of the 
morning papers flaunting the news, "War- 
ner Brothers Buys Vitagraph." It was the 
writing on the wall. But some movie execu- 
tives have never learned to read. 

THEY TAKE UP TALKIES 

WITH the theaters of this old but mori- 
bund company Warner Brothers be- 
came a force to be reckoned with in the 
movie world. But they still had a hard 
struggle before them. The money they 
made went back into their business. The 
four brothers themselves worked without 
ceasing and lived with their families in a 
simplicity strange to Hollywood. 

Then the Western Electric perfected an 



odd-looking little device on which they had 
been working silently for nine years. It was 
offered to most of the big motion picture 
companies and rejected. "Talking motion 
pictures?" scoffed the big boys. "Nothing 
to 'em.' People don't want their pictures to 
talk." 

Sam Warner read a paragraph about the 
new sound invention in a trade paper and 
telegraphed his brother Harry in New York 
to go to the laboratory and examine it. 
"Have you seen it?" Harry wired back. 
Sam had not, but knowing the family rule 
that no one should do anything without 
the rest, he wired back an equivocal, "I 
think it's a great bet." In a week Warner 
Brothers owned a controlling right to Vita- 
phone, the first practical device for syn- 
chronizing sound with motion pictures. 

Mercifully unconscious of the revolution 
in store for them, the big boys of Hollywood 
watched, with tolerant amusement, Warner 
Brothers making the first sound picture. 
Even when "Don Juan," with full orches- 
tration by the New York Symphony orches- 
tra, was released, they showed no excitement. 
But when the executives of Hollywood sat 
at the premiere of "The Jazz Singer" and 
watched and heard Al Jolson on the screen 
before them, the unwelcome suspicion began 
to creep over them that Warner Brothers, 
the subjects of their wit for so long, had 
stolen a march on them. 

THEY STILL ARE FOUR 

THE latest step forward on the part of the 
Warners has been to acquire a control- 
ling interest in First National, with its 
great stars and huge plant, and its three 
thousand theaters; and in the Stanley Com- 
pany of .'\merica, which owns two hundred 
and seventy-five first-class theaters. 

The same family loyalty that has carried 
them from the smoky calcium-lighted tent 
show to the white stone temple with the 
words "\\'arner Brothers Presents" — leap- 
ing in letters of fire along the facade by 
night, is still with them. 

The cars they drive are perhaps a trifle 
more expensive. They have built a fine 
home for their father and mother, and their 
own ways ^ living reflect their new pros- 
perity; but the Warners are still working and 
saving. They could sell out for twenty 
millions. And they are not going to. Pic- 
tures are their racket. 



Back in the Days When 

(Continued /row pagf So) 

heads didn't know the French from the 
Icelandish lingo, so they offered her leading 
parts with a big salary and began to get out 
a lot of publicity on their new French actress. 
All went well until a distinguished visitor 
from Paris visited the studio. Naturally 
they hastened to bring forth their French 
acquisition. .-Mas, for Dora! She couldn't 
understand a word of the language. They 
fired her that day." 

Louise's luggage 

BKFORE her Sennett days, Louise 
Fazenda worked on the Universal lot. 
" I 'd usually walk all the long way out 
there, for carfare was a big item to me, " 
said the comedienne. " I 'd have a suitcase 
with me containing three changes — charac- 
ter, society and ingenue — so as to be ready 
for any part that turned up. Poor mother, 
she alwa>-s had to make my right sleeve 
longer than the left, and was forever mend- 
ing holes in the side of my dress where the 
suitcase rubbed me. " 

People in Holhn,vood with long memories 
compared De Mille's "King of Kings" un- 
favorably with Sidney Olcott 's "From the 
Manger to the Cross," made nearly eighteen 
years ago in the Holy Land itself. Gene 
Gauntier as Mary, Henderson Bland as 
Christ, .Alice Hollister, Magdalene; and 
Robert \'ignola played Judas and also acted 
as property man. 

"It's a wonderful memory," sighed Alice 
Hollister, whose husband, George, ground 
the camera for the picture and whose little 
boy played Christ as a child. "And excit- 
ing, too. I remember in Jerusalem the 
Turks objected to our taking pictures of the 
gates and rushed at us with clubs. Luckily 
our men were armed, so Sid Olcott stood • 
guard at the gate with my husband's gun 
while someone rushed for the police." 

Mary Fuller, whose picture was used as 
the Edison trade-mark in the early days, 
has only loving memories of these, her 
happiest times. There was practically no 
professional jealousy. The actors were one 
big happy family. 

"Eric von Stroheim was one of our best 
extras," Ethel Wales recalled, in talking of 
the old Lasky lot. Before she became known 
as Ethel Wales on the screen, she was 
Peggy Powell who, through a stage friend- 
ship with the De Milles, was made head of 
the engagement department at the Lasky 
Studio in Hollywood. 

"\'on Stroheim was always on time and, 
better still, had plenty of uniforms. We 
paid him three dollars a day. I tried to get 
extras for nothing whenever I could. \\'hile 
Geraldine Farrar was working for us, people 
were so crazy to see her that they were glad 
to do it. Hers was the first big sensational 
contract. I remember that we had to build a 
dressing-room for her and it was stipulated 
that a car — and not a Ford — was to be 
put at her service." 

And so they tread again the paths of 
Memory Lane, finding it gay and beautiful, 
as do all those who use the magic passwords, 
"I remember when." 



There has been talk for some time of 
a plan for a new calendar which will 
tuck another month in the year some- 
where. Because of the violent impa- 
tience of the readers of Motion 
Picture for the 28th of each 
month to come around we're in- 
clined to believe that they have 
organized and put the idea over. 
The 28th, of course, is the date of 
issue of Motion Picture. It's the 
Magazine of Authority. 




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Meteor Called La Marr 

{Continued from page 40) 



and the beautiful. She found her answer to 
the puzzle we call life in the all-illuminating, 
if bromidic," Let's live to-day, for to-morrow 
we die!" She laughed at life, played with 
it; and according to her lights, enjoyed it to 
its fullest. And in the end I think she 
smiled characteristically into the face of the 
grim Stalker who claimed her — with a 
gesture of triumph. To one who knew her 
well, the tragic finish which wrote period to 
her career seemed almost of her own doing. 
She basked in a blazing night-club glare in 
place of in a healthy sunshine ; she chose 
sycophantic good fellows instead of sincere 
friends, weakening dissipations in preference 
to normal pleasures. She reached eagerly for 
them all, mistaking them for life. _ 

Spurring her on was that vitalizing, mad- 
dening attraction which drew to her men 
and more men. From all walks of life they 
came: playboys, thinkers, wasters, doers, 
leaders of industry, stars of stage and screen 
— an amazing parade of admirers, flatterers, 
lovers. 

Barbara La Marr had a strange attrac- 
tion for men — the complete power of which 
she was hardly conscious of. The Los 
Angeles jurist who pulled the now famous 
"too beautiful" line on her, when she was 
just a kid known by her right name of 
Rheatha Watson, was only partly right. 
She had more than beauty. She had the 
rare sex-magnetism of the handful of women 
who have made history at different times 
since the world began. 

I had the opportunity to observe the 
workings of this alluring quality many, 
many times. I saw it work its magic on the 
country-wide tour which the girl, already 
doomed by a dangerous malady of the 
throat, made under the auspices of the 
Southern Pacific lines in 1924. The train, 
called the La Marr Special, stopped at 
fifty towns in New Mexico, Arizona and the 
Southwest, en route to New Orleans. Among 
them was a little place called St. Charles, 
in Louisiana. The mayor of the place was 
at the station, waiting to greet the visiting 
celebrity. I presented him to Miss La Marr 
and then disappeared to do the customary 



hand-shaking with the representatives of 
the St. Charles Bugle, or whatever the name 
of the sheet was. After wrapping the press 
boys up in mimeographic copy, I returned 
just as the train was pulling out. The 
Jimmie Walker of St. Charles was standing 
on the observation platform with our star 
and, to my practiced eye, was about ready to 
leave his official duties to the janitor and 
proceed to New Orleans with our party. A 
vivid eye-picture, together with a Graflex 
shot, still remains of His Honor chasing the 
train down the tracks as it sped toward the 
Queen City. At the time it seemed trivial, 
even funny. 

MILLIONS FOR MARRIAGE 

BUT this incident had its counterpart a 
little later in the case of the wealthy 
Montana rancher who saw Barbara La Marr 
on his home-town screen and immediately 
wrote, offering her a cattle ranch of vast 
acreage and a bank account up in the mil- 
lions, if she would marry him. The incident 
culminated in his appearance in person at 
the studio, where for several days he tried 
vainly to see Barbara and convince her he 
was ready to go through with his part of the 
offer. 

Lsaw this sex-magnetism work its magic 
on hard-boiled newspaper men who met 
Barbara La Marr, prepared to exaggerate 
further the notoriety she had achieved 
through her numerous and involved mar- 
riages, and who left her with a far-away 
look in their eyes and a handful of mimeo- 
graph drivel of the kind wise press-agents 
always have on tap. 

Through some fateful twist in character 
this same quality made her a celluloid star 
overnight and then plunged her into illness 
and oblivion. 

It caused Arthur Sawyer to tag her as a 
potential star and the box-office to acclaim 
her as Hollywood's greatest gift. And by 
the same token it drew to her the gang of 
Broadway playboys and sharpshooters who 
did a very neat job in wrecking her health, 
smashing her career and denting her bank- 
account. The girl was generous to a fault. 



Muiv an extra, many a fallen star, will 
attest to this fact. But aside from the small 
army of hangers-on and down-and-outcrs 
that surrounded her, there were the 
Broadway clowns and sure-thing boys who 
showed fier a good time by spending hir 
money. The boys whose motto is " Never 
give a sucker an even break" spent thou- 
biinds of dollars of Barbara La Marrs 
money. It was a common occurrence for her 
to turn ON-cr her check-book to her night 
club p;ils. She signed and they spent. Good 
fellows who acquired a big rep as heavy- 
money tossers on the Big Alley while she 
paid the bills. They broke her in health, in 
pocket-book, in reputation. They made a 
weekly salary of twenty-five hundred dol- 
lars clisappear faster than snow on Holly- 
wood Boulevard. 

THE DEADLY REMEDY 

IT was this dissipation which placed the 
e.vcess poundage on her that caused 
Sawyer-Lubin and First National many a 
headache; which induced her to try the 
deadly remedy that consisted of the head 
of a tape worm in pill form, to cut down the 
extra flesh. It cut it down and with it went 
her life. It marked the first step in her 
ph\'sical decline and eventual death. 

Two weeks before she appeared on the 
studio floor in Fort Lee to star in "The 
Heart of a Siren," Barbara La Marr was 
eighteen pounds above the limit set for her 
camera work. The day Phil Rosen, her 
director, called "Camera!" for the opening 
shots, she was her own slim self. But at 
what a cost! A little less than a year later 
she lay dying, deserted by the good fellows 
who carried her check-book, ignored and 
forgotten by all except a faithful few who 
knew the real La Marr — who watched, wet- 
lidded and saddened as the fiercely burning 
meteor gave ofl^ its last few pitiful flashes 
before fading into darkness. 

Barbara La Marr made a fortune during 
her few brilliant years on the screen. She 
died penniless, killed by the thing which had 
sent her sky-rocketing into a world of head- 
lines and Rolls-Royces, only to plunge her 
into debt, sickness and the obituary column. 

HER LOVE FOR SONNY 

IT is not generally known that during her 
desperate fight for life, a well-known 
figure of the movie world stepped forward 
and paid her hea\-y doctors' bills; that at her 
death another equally famous member of the 
movie colony paid the expenses of her 
funeral, and that still another redeemed the 
valuable jewels which had reached the loan- 
sharks toward the last. At her death Bar- 
bara La Marr owed the company which 
controlled her services thousands of dollars. 

One of her finest gestures during life was 
the adoption of the baby known as Sonny 
La Marr. Despite popular rumor, the child 
was not hers. She took him from the Hope 
Foundling .Asylum in Dallas, Texas, during 
a personal-appearance tour. Against the 
protest of her producers and business 
advisers, who feared unfavorable public 
reaction from those who knew her as a 
screen vamp, she took Sonny to her heart 
and reared him as her own. 

This act is one in keeping with the tend- 
ency that this gorgeous woman possessed 
to such a degree as finally to bring about 
her ruin: the inclination to give, to squander 
all she had upon others. It is this that 
makes her the anomaly she is among wom- 
en outwardly of her type. Here was no 
calculating and cruel beauty. Here was 
the ultimate in charm, the ultimate in 
spectacular quality coupled with the ulti- 
mate in warm-heartedness. 

Is there a moral to this story of meteors 
who burn out when their light is shining at 
its most brilliant? I don't know. Ask the 
good fellows, the playboys of Broadway and 
Hollywood. They know the answer— if 
they'll tell! 




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Hollywood's Pet Whoopee 

(Continued from page 53) 



idea when he opened his ornate Egyptian 
Theater with "Robin Hood." Before that, it 
is quite likely that movie stars went to the 
theater on occasions, but nobody made any 
fuss about it. But with the opening of the 
Egyptian, all the stars who possessed an 
ermine coat, or a dinner jacket, went the 
opening night. The rest of the populace, 
possibly not having five dollars to spend on 
a ticket, just went and stood around until 
their feet ached. 

From this far from humble beginning the 
premiere was embellished. The radio was 
brought in to introduce the stars. Great 
searchlights in front of the theater swept the 
skies. Night-lights triumphed over daylight. 

Grauman stood alone for a long time. 
The Carthay Circle Theater is the only 
rival now of his new Chinese Theater. 
Strictly speaking, the Carthay Circle is not 
in Hollywood, but mid-way between Holly- 
wood, Beverly Hills and Los Angeles. These 
are the only theaters to stage consistently 
elaborate premieres. The new Warner 
Brothers Theater in Hollywood and the 
United Artists Theater in Los Angeles both 
opened with grand swank but have since 
adhered to placid, routine openings. The 
Criterion, California and Million Dollar 
Theaters, in the heart of downtown Los 
Angeles, were never very successful with 
premieres. The traffic was too great, and 
spectators were less genteel. They were 
somewhat inclined to make ribald remarks. 

JUMPING ON JACK 

IMAGINE the embarrassment of John 
Barrymore, who served as master of cere- 
monies at the premiere of "Two Arabian 
Knights" at the Million Dollar Theater. 
All through his speech, and it wasn't a bad 
speech, some ruffian in the gallery kept call- 
ing, "Louder, John." 

The opening of "My Best Girl" at the 
United Artists Theater was made memo- 
rable by the attendance of the late Mrs. 
Charlotte Pickford. Even at that time she 
was nearing the Valley of the Shadow. Yet, 
against her doctor's orders, she got up out of 



bed and was literally carried into the the- 
ater. The indomitable spirit which had 
accomplished so much in furthering Mary's 
career was not to be thwarted o;i this occa- 
sion. It was the last premiere she ever 
attended, and perhaps it hastened her death. 

One of the most brilliant of premieres was 
the opening of C. B. DeMille's "The King of 
Kings" at Grauman's Chinese Theater, 
which succeeded the Egyptian as Holly- 
wood's ultra long-run house. DeMille's pic- 
tures have usually attracted attention. "The 
Ten Commandments" and "The Volga 
Boatman " were both accorded big openings. 
His latest picture, "The Godless Girl," was 
less exciting at the Biltmore. 

Another recent and very fancy premiere 
was the opening of "Lilac Time" at the 
Carthay Circle. Colleen Moore, the star of 
the picture, and her party rode to the 
theater in a fleet of Rolls-Royces, escorted 
by a cordon of motor-cycle police. Hizzoner 
Mayor James \^'alker of New York was her 
guest of honor. As a tribute to the mayor, 
as he entered the theater, the orchestra 
struck up "The Sidewalks of New York." 

THE SOAP-BOX CONCESSION 

THE management of the Carthay Circle 
estimated that twenty thousand people 
were outside of the theater that night. The 
bootblack at the theater made seventy-five 
dollars that ev^ening, selling soap-boxes to 
stand on. Soap bo.\es came high for late 
arrivals who couldn't worm themselves into 
the front line. 

The radio is always a much-worked fea- 
ture of these openings. Stars are announced 
as they arrive and invited to make speeches. 
They all do it, as it is good training for talk- 
ing pictures. The theory that silence is 
golden is never adopted in this case. The 
set and sparkling speech, rigidly adhered to, 
is something like this: 

"Hello, everybody. It's a wonderful 
opening. I wish you could all be here." 

Vera Gordon almost started a panic when 

she varied the procedure by saying, "The 

{Continued on page gg) 




Spaniels that should be Airedales: Wallace Beery 's two pet dogs accompany him on 

all his frequent trips by plane between Hollywood and Berry Field, north of 

Biship, California 



In and Out of Focus 

(Con I i lined from page jo) 

strange kid playing. Anyhow," he added 
thoughtfully, "that kid was a darn good 
actor." 



Teaming with Expense 

IN making " Hell '.= Angels," a number of 
teamsters were hired for one scene. After 
watching proceedings for an hour or so,, one 
of them turned to Ben Lyon. "This picture 
must cost a heap of money," said he. "Yes," 
said Ben, "about a million and a half." 
"Hell!" whistled the other. "Still, I don't 
wonder, with teamsters getting six dollars 
a day." 

Satisfaction Guaranteed 

BEN got his pilot's license during the 
making of that picture. As he was 
about to make his initial flight, the studio 
prop man approached with a parachute. 
"I hope this is all right," said he, handing 
it to Ben. "Take it anyhow, and if it don't 
work, bring it back and I'll find you another 
one." 

Distance Lends Pronunciation 

ROLAND DREW was chosen to play op- 
posite Dolores del Rio in "Evangeline" 
because he can speak French. Said Roland 
to a friend anxious to get a part in the pic- 
ture, "Do you speak French?" "Well," 
said the friend dubiously, " I speak it better 
in the long shots." 

Every Boy Friend a Fireman 

"TS she a hot mama?" asked one extra of 
■*■ another. "Is she hot?" repeated his 
friend rapturously. "Say, boy, that baby 
is so hot that when you step out with her 
you have to take a fire-extinguisher along." 

He Was Always Good 

SEVENTEEN -YEAR-OLD Bennie Alex- 
ander went to see the re-issue of an old 
picture in which he played a child part. 
"How did you like yourself?" a friend 
asked him afterward. "Well," said Bennie 
hesitantly, "it was exactly like watching a 




Den W^as the Days 

'T^HE debating team from Sidney, Aus- 
-^ tralia, was being entertained at a dinner 
given by the Academy of Motion Picture 
Arts and Sciences. "Daniel was a lucky 
guy," one of the hosts remarked when 
called on for a few words, "he didn't have 
to make any after-dinner speeches." "If 
I'd been Daniel," replied one of the visitors 
in his turn, "do you know what I'd have 
done? I'd have gone around to each of the 
lions and whispered in his ear, 'Lion, re- 
member you got to make an after-dinner 
speech,' and there wouldn't have been any 

The Rush of Sound 

COME into the projection-room with 
me," said a fellow director to Eddie 
Cline the other day. " I've got to hear some 
rushes." 

Good-bye, Voice, I'm Through 

THIS is the sad fate of a well-known star 
applying for a job in the talkies, as 
recorded by a local writer. "His voice 
recorded so good they wanted to take an 
option on his vocal cords. But before 
settling salary, they argued for hours and 
hours. Finally the actor won his point but 
had to turn down the job because he had 
lost his voice." 

Pre-haps 

AND one more: instead of pre-views as 
- we have now, will the first try-out of 
the talkies be pre-hears? 

A Petty Offense 

BILL HAINES tells this one: "I was 
down at traffic court this morning to 
pay a fine for speeding. And there was a 
high school boy there, arrested for driving 
with one arm around his girl. 'Guilty of 



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The renewal of a friendship of Wong standing : Anna May greets Percy Mar- 

mont when he arrives at a studio in England where she has for some time 

been acting 



driving in a state of extreme infatuation,' 
said the judge." 

In Sid's Permanent Waves 

npEXAS GUINAN went away shaking 
the dust of Hollywood from her feet. 
"What would you have liked to do in 
Hollywood that you didn't do?" a reporter 
asked her. Texas considered. "Take off 
my shoes and stockings and wade through 
Sid Grauman's hair," said she. 

Mama, Ma and Pa 

TT was one o'clock. A gang of the younger 
set of the movies had stopped at a 
screen cutie's house to pick her up. "No, 
she isn't in," said her father, appearing at 
the door in a nightshirt of early William 
Jennings Bryan style. "But if you do run 
across her anywhere," he added patiently, 
" I wish you'd tell her to come by and say 
good-night to her ma and me." 

Emil Is No Camel 

TT was on location. The interviewer was 
lunching with Ludwig Berger who was 
opening prohibition beer. "Come on over, 
Emil," he invited Jannings. "Have some 
beer." 

"Ach, nein," beamed Emil. "I drink 
noddings but ginger ale." He extended a 
glass brimful of what looked like this in- 
nocuous beverage to the writer. "Have 
some?" 

The interviewer took a sip of liquid like 
molten fire and gasped. When she could 
speak, she asked feebly, "Where's the ginger 
ale in that?" 

With a naughty boy grin, Jannings pointed 
a fat forefinger to a side of the glass, "Dot 
leedle bobble over dere, dot's ginger ale," 
he chuckled. 



Bowth Sides of It 

n^ED COOK, local columnist, quotes 
Clara Bow as saying something to this 
effect. " I am tired of being a famous movie 
star at three thousand dollars a week. What 
I would like would be to be like other girls 
and have a home and husband and babies." 
"My dear Clara," says Ted, "You are all 
wrong. Other girls don't want these things. 
They want to be famous movie stars at 
three thousand a week." 

She Did, Too 

T UPE VELEZ appeared recently at the 
studio and dragged the woman head of 
the publicity department away from her 
desk to go down-town shopping with her. 
There was a bath mat, it appeared, which 
Lupe wanted, but it cost twenty-two dol- 
lars. "Tha's too moch," Lupe explained. 
"Mebbe you get great beeg discount for 
Lupe, eh?" Impressed with her zeal for 
economy, the publicity woman gave up her 
morning, but the bath mat was not the 
only one purchased. On the way out of the 
rug section Lupe saw a Chinese carpet for 
eleven hundred and eight\--fi\-e and ordered 
it delivered at her home. "Anj'how I save 
two dollar feefty, on thas bath mat," Lupe 
justified her purchase. 

Yes, It Suits Him 

rpOM MIX, reading that his wife was 
planning to sue him for divorce in Paris, 
replies that if America is good enough to be 
born in and married in, it's good enough to 
be divorced in. He is evidently American 
to the last decree. 

Picturing the Wurst 

"T'M looking ahead to seeing Ronald 
A Colman and Vilma Banky in a talkie 
love scene," says Eddie Cantor. "When 
Ronald says 'I love you, darling. I adore 
you,' and Vilma softly sighs, 'Ya, ya, 
wiener schnitzel.'" 



Hollywood's Pet 
Whoopee 

{Continued from page prt) 

tickets cost five dollars each. It isn't worth 
it, but I never miss. " 

At a very recent opening one of the stu- 
dios decided to s»ive money and photograph 
mob scenes for a forthcoming picture. 

A first-nighter, after watching with dis- 
gust the cranking cameras, turned to a well- 
known director and remarked: 

"Isn't that just like a cheap producer?" 

"Ssh!" warned the director who worked 
for the producer. " Vou said that right into 
the radio." 

What happens inside the theater is less 
spectacular than what happens outside the 
theater. Most stars would be grateful, if, 
after receiving the huzzahs of the multi- 
tudes, they could walk through the theater 
and out the back exit without bothcrini? 
about the picture. Like the bewildered 
author in Carl Van Vech ten's "Spider Hoy. " 
a novel about Hollywood, who went to 
sleep during the long prologue and missed 
entirely the filmization of his story, more 
than one person has slept through a pre- 
miere. 

THE INEVITABLE M.ASTER 

NO article about this peculiar phenome- 
non, the Hollywood premiere, would be 
complete without further mention of the 
master of ceremony. No matter what your 
personal viewpoint may be on the master of 
ceremony, he is a necessary evil, like a 
chaser after Hollywood gin. Someone has to 
introduce the stars and go into raptures 
about the beautiful leading lady, the mar- 
velous direction, and what not. 

Fred Xiblo has officiated in this capacity 
at innumerable openings. Xiblo has been in 
pictures so long that he has rather a patri- 
archal manner of handling such affairs. He 
beams on this fraternity of filmland. He 
says that a Hollywood first-night audience 
is the most generous one in the world. Now 
I hate to disagree, but then I've heard the 
anvil chorus after the picture has been run. 
They don't actually boo during the showing. 

Conrad Nagel, another tried and true 
master of ceremony, does it in sach a genteel 
manner. He says such nice things in such a 
nice way — and in such a good voice. 

George Jessel, during his stay in Holly- 
wood, attained popularity as a first-night 
official. George has a sense of humor, a bit 
brash perhaps, but still good humor. 

"I guess," he admitted, speaking of his 
fondness for his director, Lloyd Bacon, 
"that I'm the only Jewish boy who likes 
bacon." 

I think it was George who introduced 
Cantor Josef Rosenblatt, sitting some place 
in the audience. The Cantor arose, bowed 
and sat down. The spotlight was trying to 
find him on the opposite side of the house. 
George asked him to stand again. He did, 
and the spotlight missed him again. 

Lowe's high praise 

EDMUND LOWE, at the opening of 
"Sunrise," gave one of the greatest 
sales-talks that Fo.x has ever had. It was so 
glowing that some sarcastic souls suggested 
that Eddie was going to ask for a raise. 

AI Jolson, when he is master of cere- 
monies, keeps his audience long after mid- 
night. AI tells stories, as only Al can tell 
them, and he sings. No one ever leaves until 
he sings "Mammy." 

Sometimes these stars are visibly over- 
come at meeting their public face-to-face. 
More than one star has been choked with 
tears and wasted a thousand dollars' worth 
of emotion with no camera to record it 

Who are the most consistent first-night- 
ers? Among those who rarely miss are Irene 
{Continued on page loi) 



JO minutes 
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{Continued from page 65) 




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GOOD NAME, GOOD SHOW 

ABERDEEN bears out her own con- 
■ victions. A great friend of mine who 
runs the Capitol Theater on Main Street, 
told me that he would pay thirty-five per 
cent more for pictures made by Douglas 
Fairbanks and Harold Lloyd. Why? Be- 
cause these two gentlemen lead clean, whole- 
some lives. They are never involved in any 
scandal. They employ people to tell the 
world of their good deeds. Aberdeen is sold 
on wholesome people. Even the pictures 
made by these two stars are of the type 
that Aberdeen likes. Children can be given 
money to see their pictures and with the 
assurance that they will get no bad in- 
fluence or desires — other than scaling walls 
and the like. Having a good reputation has 
paid the movies in Aberdeen. 

"But I'll tell Aberdeen right here that the 
few people in Hollywood who are not con- 
nected with the picture industry are just 
as movie-struck as you are. They stare at a 
celebrity on Hollywood Boulevard just the 
same as we would on Lincoln Street back in 
our town. The crowds around the restau- 
rants and theaters where the stars are 
known to be, push each other to a jamming 
point to get a fleeting look at their favorite 
as she steps into her town car to be whisked 
away to the studio. They love the stars in 
Hollywood. The women imitate their 
clothes, their hair and their worldly so- 
phistications. The men dress as nearly like 
the man of the hour as their pocket-books 
will allow. 

"But on the whole, I believe that the 
women in Aberdeen dress in a more digni- 
fied manner than the women in Hollywood. 
Aberdeen's dress is as somber and quiet as 
Hollywood's is bright and noisy. Women in 
Aberdeen dress in perfect style so that they 
will not be conspicuous. In Hollywood they 
dress to be conspicuous. At least, the people 
in pictures are conspicuous, and I believe 
that is the effect they are after. 

SERVICES SANS CHAPLIN 

"'TpHE ordinary people in Hollywood are 
A much like my friends in Aberdeen. 
They gossip just as heartily about a rumored 
divorce as we do at home. I went to a 
benefit given by the movie stars at the 
Metropolitan Theater the other night. It 
was for a great cause and Charlie Chaplin 
was billed as master of ceremonies. Then, 
without a word of explanation from the 
management of the theater, Charlie Chaplin 
did not show up. The people of Hollywood, 
who sat near me were doing a lot of loud 



whispering. ' Where is Charlie? ' ' Charlie is 
just as dependable as a dollar watch.' 
These were some of the things I heard. 
Such occurrences as this do not help Holly- 
wood, or the stars, or the studios. They 
hurt. 

"How can you blame Aberdeen for think- 
ing as harshly of Hollywood as she does? 
Hollywood seems to like the reputation it 
has. At least, there is no real effort to change 
its reputation. Even in its own town. I 
went out to a certain subdivision in Holly- 
wood to look over the prospects of the busi- 
ness lots. I had a long talk with one of the 
salesmen, who said among other things, 
'Aw, you can be darn sure when you buy 
here, R'lister, that we ain't goin' to have 
none o' them nasty, noisy, movie parties 
out here, 'cause they're banned often this 
here property.' Now, isn't that a true 
Hollywood citizen for you? The movies 
have made Hollywood possible. They make 
business good. And Hollywood knocks 
them. What, then, can you expect of Aber- 
deen? 

BITING Hollywood's hand 

WHY doesn't Hollywood get behind 
their movie stars and help them? 
Where is some nice publicity from the 
Chamber of Commerce? Hollywood hasn't 
realized that the movies are their bread and 
butter. 

"Instead of scandal, let's preach: Sum- 
mer air, roses, orange-blossoms, churches, 
good music, charity and a hundred and one 
good things that Hollywood stands for. 
Why should they be kept a secret? Let the 
people know Hollywood from a beautiful 
angle. 

"The other day a young movie actor was 
killed by an automobile. He was new. 
Stardom was still around the corner. Some 
of the famous stars you've heard about, 
stars whose reputations are painted black 
for no good reason, got together and planned 
a benefit for the boy's mother. It seems 
that he was her sole support and comfort. 
Now he was gone and she was starving. 
Late the next morning after the benefit, 
where every person in the business had 
made his or her little offering, a group of 
young girls, whose eyes were tear-dimmed 
with grief, went to the little mother with • 
$20,000 in cash. She has a little bungalow \ 
in the hills back of Hollywood now. 

"Why doesn't that story get printed?. 
Why don't the people of the world get that 
slant on wicked Hollywood? I guess Holly- 
wood is satisfied with her reputation.' 
And Aberdeen is satisfied to believe." 




Hollywood's Pet Whoopee 

{^Continued from page gg) 

Rich, Edmund I.owe and Lilyan Tashnian, 
Jetta Goudal, Claire Windsor, Ben l.\on, 
Phyllis Haver, Norma Shearer, Lupe Vclez, 
Jack Mulhail, Marceline and Alice Day, 
James Hall and Charles Farrell. One usually 
sees C. B. DeMille, Jack Warner, Samuel 
Goldwyn, Harry Rapf and Irving Thalberg. 
Colleen Moore, Laura LaPlante, Janet Gay- 
nor, Gloria Swanson, Norma Talmadge, 
John Gilbert, John. Barrymore, Gilbert 
Roland, Dolores Costello and Corinne 
Grittith are pretty consistent in their attend- 
ance. Mary and Doug often go to these 
affairs, but in\-ariably they slip through the 
side door of the theater. 

SIDE-DOOR CUSTOMERS 

RAMON NOXARRO seldom goes to a 
• first night. He did escort Elsie Janis to 
the premiere of "Lilac Time." They, too, 
entered through a side door. 

There are others who always attend these 
occasions, although the\- have no part in the 
film world. For instance, there is the fond 
mother who always brings her pretty twin 
daughters in the hope that some director 
will see them and be interested. Then there 
is a small army of autograph collectors who 
make a nightmare of intermission tor the 
stars by demanding signatures. 1 know one 
famous girl who had the book snatclunl out 
of her hand by its owner when Greta Garbo 
walked by. 

There must be ghosts, too, who walk 
amoog the famous at these premieres, the 
shadows of stars who have left the screen, or 
ha\^ gone forever. The other day, in an old 
newspaper clipping, I read the names of 
those who attended the premiere of " Intol- 
erance" at the old Clune's Auditorium in 
Los .Angeles. How few of these people, and 
it wasn't so long ago, are still attending 
• Hollywood first nights: Henry Walthall, 
George Siegmann, Lillian Gish, Robert 
Harron, Dorothy Gish, Geraldine Farrar, 
George Loane Tucker, Mav .Allison, Mary 
Pickford, Viola Dana, Pauline Frederick, 
Ann May, Marguerite Clark, Roscoe Ar- 
buckle, Mabel Normand, Thomas Meighan, 
Kathlyn Williams, Louise Glaum, Robert 
Warwick, George Melford, and Edythe 
Chapman! But perhaps all are there — in 
spirit — at every opening. 




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Commander Byrd Rules Out Sex 



( Continued from page 2g) 



"W, 



whole page to express through 

PENGUINS FOR PALS 
vill be home in 1930. For nearly 
two years we will sit on the edge of 
life and record that edge for the people. 

"As I say, I do not know what that will 
be. No one has ever done it. We do know, how- 
ever, that we will have those extraordinary 
birds, the penguins, as our companions. 
They are almost human. The way they 
walk; the way they listen. They cannot fly 
but just stalk around on the ice. They are 
terribly inquisitive, which makes them seem 
so nearly human. 

"There is no life on the edge, so far as we 
know, aside from these birds and a few 
kinds of seals. The seals down there are 
not afraid because there are no polar bears 
to molest them. 

"Our actors?" He smiled. "The ele- 
ments and the thirty to thirty-five men on 
the edge. The others will go back with the 
boats to New Zealand. The boats, of 
course, cannot stay after the winter sets in. 
These men will be our actors. No, it is not 
the South Pole. The South Pole is an imag- 
inary dot smaller than the point of a needle. 
Our picture will show the unknown ant- 
arctic continent as explored by man, aero- 
plane and camera. 

"Aside from the help given to science, 
aside from the pleasure and knowledge it 
brings to the public, this picture will, I 
believe, do much to reduce the public ap- 
prehension of exploration. It will show 
them what other people have done — " In 



other words, Commander Byrd feels that the 
world's strangest picture will encourage 
courage among all peoples. 

There is still another picture angle to this 
expedition. For a year and a half, maybe 
two years, thirty-five men will be closeted 
in small quarters on a huge cake of ice. Their 
work will consist of flying four aeroplanes 
into a darkness which is completely un- 
known. But there will be many hours when 
they are not flying. Hours when they will 
be cooped together, talking — and, yes, 
yearning — for home fires and familiar fares. 

HOME NEWS BY RADIO 

AN especially designed radio equipment 
goes with them. At eleven o'clock 
every Saturday night their wives, their 
sweethearts, their friends, their children will 
have an opportunity to speak to them from 
a New York broadcasting station. It is 
hoped that the short wave lengths, allotted 
only for their use, will be a certain means of 
communication, between the edge of life 
and the heart of it. But that, like every- 
thing else connected with the exploration, 
is yet to be proved. 

There's a library of books and enough 
magazines to provide an average sized city. 

But thirty-five men buried for two years 
without sight of a woman — half of them 
already married! 

It is to his motion picture library that 
Commander Byrd looks for most of his 
entertainment. 

"We have taken mostly comedies, be- 
cause the men can see them over and over 
and still get fun from them. And the other 




Ships as well as White Houses have their official spokesmen: Commander Richard 
Byrd at the wheel of the City of New York, which preceded him into the antarctic seas 



1 Matures I ordered were 'Chang,' 'Cirass, ' 
• Moana of The South Seas,' 'Nanook of 
I'he North" — all kinds of exploration pic- 
tures." 

Not a lox^c-picture was chosen. Not one 
depicting tlie problem of man's relations 
with women, llara Bow, (jreta darbo, Billie 
Hove, l.upe Velez — they will have no 
chance to disturb the scientific thoughts of 
thirty-five virile men camped twenty-three 
hundred miles from all women. Scarcely a 
picture which will show a woman in it. 

A FA.MINE OF SEX APPEAL 

"TF any other pictures have crept into the 

A i;roup. I do not know it." Commander 
Hyrds \oice w.is crisp as he said it. And 
although he diil not actually imply it, 1 
ha\e a suspicion that if, by some accident, 
love pictures have been included, they will 
never be shown. 

1 met some of the men on the train. They 
represent the best type of manhood in this 
country. Commander Ryrd has taken 
nearly two years to choose them, .^s one of 
the members of the group explained to me, 
"One bad man in this bunch would be like a 
rotten apple in a barrel. He'd spoil the 
whole two years for everybody." 

One of them has a new home; another a 
new baby. They showed me the pictures. 
I wish I had had an opportunityto count the 
number of snapshots in the eighty-three 
pocketbooks of these eighty-three gentle- 
men. Fully seventy per cent must have 
been of sweet-faced, brave women and eager 
young children. 

.\t least, none of these women who have 
sacrificed their men for Commander Byrd's 
great motion picture needs fear that the 
women of the screen will run them any com- 
petition, since their own pictures are the 
only ones which* the men will see during 
their exile from civilization. 

.\s for equipment — books will be written 
on this subject. There's the player piano 
and a carload of victrolas. I wish you could 
Have seen the ukuleles. 

DOCTORS PLAIN AND BRAIN 

GENER.\TORS, projection machines and 
enough flares to light the way for the 
entire picture should it be taken during the 
time when the sun is lighting that part of 
the world so many thousands of miles dis- 
tant. Three standard cameras and five 
automatics in addition to the one especially 
made for the scientific mapping. And the 
one hundred and fifty thousand feet of film 
which will take twenty-eight miles of picture. 
Every type of instrument, every medicinal 
compound, every possible entertainment 
which may be needed in the greatest battle 
man has yet had with the elements of nature. 

Probably the first expedition of its kind 
taken, however, for the good of the general 
public as well as for the progression of 
science. 

"Which is what makes the motion pic- 
ture angle so important," Commander 
Byrd re-emphasized upon parting. "We 
will show you how this part of the world 
looked during the ice age as well as acquaint 
you with that section which is still ice- 
ridden." 

Ah, we will await your return with real 
interest. Commander. We will look for- 
ward to the 1930 release of the world's 
strangest picture with the one universal 
thought — never before given to one single 
picture producer — " May no harm come 
to you!" 



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Not only does Ramon Novarro act as producer of the plays at his own little pri- 
vate theater, but as orchestra as well. The mirror overhead enables him to see 
the stage at his back 



The Man No Woman Can Vamp 

{Continued from page 42) 



attend the cinema, continually searching 
among the extras for the faces of crimi- 
nals. I have seen you too often to be mis- 
taken. You are Ramon Novarro." 

Except for this one time, Novarro was not 
recognized during his whole trip abroad. 

The new grand opera tenor, our own 
Novarro? So that's what Ramon has been 
up to all this while! 

Instead of spending his time when he 
wasn't before the camera in going to wild 
Hollywood parties, getting married and 
divorced and remarried, and in every way 
living a normal movie life, he has been 
practising scales and learning the Italian 
and German scores of "La Tosca" and 
"Lohengrin." 

Instead of putting in his leisure panning 
the producers, gossiping about his friends 
and drinking highballs, Ramon has practi- 
cally wasted his life as a famous screen star 
in studying arias from operas. 

Instead of getting full value for his 
popularity in the pictures by being seen at 
premieres or making personal appearances 
or playing guest of honor at movie night in 
some local cafe where the tourists gather to 
worship, Novarro has thrown away these 
priceless opportunities for publicity for the 
sake f mere music. 

UNTRUE TO TYPE 

NO wonder Hollywood has never been 
able to understand Ramon Novarro. 
"He doesn't act like a movie star at all," 
they say, aggrieved. 

"The motion pictures have been a side- 
line with me," he admits, quite honestly. 
"I like them very much-— do not misunder- 
stand me — and now all the more because 
they have a voife. Yet since I can first 



remember, I have wanted to be a singer. 
That has been my real life. All these years 
I have never given up studying, here with 
Louis Gravure, the great Metropolitan 
tenor; and on trips to Europe, everywhere 
I was, every moment I could spare." 

A memory of an afternoon tea with 
Ramon in his sitting-room in an old-fash- 
ioned hotel in New York several years ago. 
An open fire, dusk, jars of spiced roses, 
Ramon at the open square piano singing 
softly. An hour of talk and tea, excellent 
tea, good talk — and it was only when we 
went away that we realized that in all this 
time we had never mentioned, or even 
thought of motion pictures. 

He sits now in bathing suit and dressing- 
gown, waiting to go into the cold November 
sea for a scene. It is the privilege of a 
movie star to become temperamental on 
such provocation, but NoA-arro misses 
another opportunity. Anything that has to 
be done in a picture he does courteously and 
without complaint. It is his business. But 
when the scenes for the day are shot and 
the make-up removed, Ramon Sameniegos 
begins to live his real life. He goes home to 
the unpretentious house, which he shares 
with his father and mother and brothers 
and sisters, and closes the door behind him 
on Hollywood. The most important people 
in the movie colony would be glad to be 
invited to this house; this misguided young 
man might have the handsomest screen heroes 
and the loveliest leading ladies for his com- 
panions; instead he chooses as friends merely 
concert pianists and musicians. No wonder 
Hollywood shakes its head over Ramon 
Novarro's eccentricities. 

In the little private theater he has had 
built in his home, Ramon and his friends 



have staged and sung scenes from the great 
operas. This has been his only public ap- 
pearance as a singer. No phonograpli 
records, no radio broadcasting. Me has 
never even had his picture taken having a 
voice test over the microphone. Since the 
secret of his grand opera ambitions has beeri 
re\-ealed, Hollywood has been trying to puz- 
zle out why these things should be. 

"I didn't want to speak of my singing," 
Ramon says simply, "until 1 was sure. 
Vou see, when I was a boy I used to read 
those 'Keys to Success' booklets, and a 
sentence in one of them has always stuck 
in my mind. The writer said that if you 
wanted to do something and talked about 
it to everyone, some of the desire to do it 
was lost in the talking. But if you penned 
up the desire to do sornething inside and 
never spoke of it to anyone, it grew stronger 
and stronger until it had to find an outlet 
in action. That's why 1 didn't tell people 1 
was studying to sing in grand opera until 
I had been to Europe and had a hearing in 
Berlin and signed my contract." 

For six months of the year Ramon No- 
varro will make pictures, for the other six 
months he may — if he wishes — stiuK music 
and sing in Berlin, in Paris, pcrliai's in tl.c 
Metropolitan Opera in New ^ crk. I le ni a> 
live the life he chooses aim .nl, a\..i\ iiom 
staring eyes and whirrin- ;: in -. ': ihc 
modest pensions of tin ' i ni. 

where his companions an- - ,_ - ., 

artists; where the room^ ,iir . iiaii nul 
wa.xed and bare as the monasier\- which 
gossip had it at one time Ramon N'ovarro 
intended to enter. 

Perhaps this rumor came from the fact 
that three of his sisters are nuns, perhaps — 
and this is more likely — from the fact that 
Ramon refuses to fall in love with any of 
the beautiful and perfectly willing young 
ladies of Hollywood. He is woman-proof. 
It is said that the most practiced sirens in 
the movies have tried — on a wager — to win 
from him a single off-the-screen kiss, and 
failed. 

.And now one sees why. What movie 
flapper could hope to win the thoughts of 
one who sings his love to Melisatide and 
Mignon and Marguerite ? What vamp, no 
matter how seductive, could hope to rival 
Aida, glittering with gems; Tosca, Thais? 
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What They Talk About and How 

{Continued from page 31) 



likes to shock people for the fun of it, dear, 
if they are easily shocked like yourself, 
dear. Phyllis would rather talk about 
other things, anyway. She just got back 
from Tia Juana, dear, and she had a lovely 
time. She was awfully lucky, dear, and if 
you ever go down there, she wants you to 
try her system on roulette. Frances Howard 
Goldwyn and Sam Goldwyn and Joseph 
Schenck and a whole party of them went 
along and she had more fun than she has 
had in ages. Phyllis just loves parties, 
anyway. Don't you, dear? \^'hy, when 
girls get together, they could just talk about 
parties and boy-friends and new clothes and 
permanent waves all night. Especially if 
they are girls like you and Phyllis and my- 
self, dear. 

Of course, with Aileen Pringle and Doris 
Kenyon, it's a little different. Aileen is 
hardly a clubby conversationalist for the 
gals because she makes no secret of not 
caring particularly for her own sex, much 
less the things they gossip about. Virile and 
robust is the Pringle conversation about 
certain people and places of importance. 
Aileen's friends are Mencken, Hergesheimer, 
Nathan and Arlen and other people who 
have written books and rung door-bells. 
Consequently, her tongue is as smart as her 
gowns. Who cares about Hollywood shop 
talk? Not Aileen. 

As for Doris Kenyon, in a warm, friendly 
way, she wants you to read some delightful 
book she has just finished. She is going to 
send it to you, really. Isn't it wonderful to 
run across some new writer before the 
critics discover him, or her, and feel that 
he is your own particular find? It's a great 
thrill. Even more so than doing a good part 
on the screen. The screen is so transient. 
Books are so permanent. Doris hopes, 
sweetly and graciously, that her small son 
will be a great writer. And, laughingly, if 
he just won't be a writer, he must be a good 
reader. Those are the things that really 
matter to a woman, aren't they? Watching 
the development of a loved child, making 
a home and reading good books. You must 
come over again sometime and talk about 
the things that really matter in life. 

SAXOPHON£S AND PSYCHES 

JOAN CRAWFORD has two favorite 
topics of conversation. Good dance 



music and her soul. It depends on which 
mood you catch her in. One minute it's 
"Hey! Hey! Make whoopee! Vo-dee-o- 
do-do-do" and the next she is sunk in 
melancholia contemplating the innermost 
thoughts and feelings of her deeper self. 
With profound introspection she wonders 
why the things that have happened to her, 
have happened to her? Why has she lain 
awake nights crying into her pillow only 
on the morrow to rise and brush, the tears 
away and jazz through the day? Why can't 
people see through that jazzy exterior into 
the real heart of her? Ah, well, it's life. 
It's fate! It's Joan! 

If you've ever met any of the European 
nobility, you'd enjoy a chatty half-hour 
with Elinor Glyn. Madame has met so 
many great people and she's just full of 
intimate little revelations of several weeks 
spent with the Russian royal family while 
they were still royal, and any number of 
lesser duchesses, countesses and ladies. 
How Madame adores the old-world eti- 
quette ! How graceful the poise of the ladies-' 
heads! How courtly the manners of the 
gentlemen ! The American girl has much to 
learn from them. For instance, with her 
pep, and her sma!! graceful ankles, how 
much lovelier she would be if she softened 
her voice. That Yankee voice! Is there 
nothing to be done about it? Zowie! How 
it grates on Madame ! 

Doug Fairbanks could swap yarns of 
royalty with Madame if he wanted to. He's 
sat next to a couple of princesses himself in 
the course of his European meals. But if 
it's all the same to you, Doug had just as 
soon discuss Dempsey, and other American 
aristocrats. Say, it's great about that Zep 
trip, isn't it? It makes you want to go out 
and conquer a few worlds yourself. Keep 
fit! That's the great working rule of life. 
Keep fit — and fly airplanes and win golf 
tournaments and football games and sleep 
eight hours a night and make movies! 
That's the life. That's the stufT, to hear 
Doug tell it. Say, how high a bar can you 
chin on? 

MARY AND THE OTHER HALF 

MARY laughs indulgently at Doug. 
Mary laughs indulgently with life. 
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haircuts and wliat So-iii-So wore (o the 
opening of "My Host C.irl." Not that Mary 
can't talk IVencli and broad Knglish vowels 
right up with the best of them when she 
wants to, but up until the last six months 
Mary has not co-mingled with Hollywood 
to any great extent and she is as interested 
in its doings as a tourist. She tells you, with 
a little smile at her own reserve, that siie 
has only been at the Montmartre a couple 
of times in her life, but she had read so 
much about it that it was quite an experierut- 
really for her to see it. Sometimes she asks 
questions about new screen people she has 
never met. ^ that new girl who played in 
"Poisonous Passion" really as pretty as 
she looks on the screen? So Mary Dolittle 
is having trouble with her contract? That's 
too bad. It isn't wise for a newcomer to 
quarrel with her company. Do you like 
that new shade of green some of the girls 
are wearing? 

Al Jolson uses more slang than you could 
get out of a college humor magazine. Boy, 
you ain't heard nothin' until you've heard 
Al do things to the Queen's English. 
B-b-boy you're talking to a Broadway man 
and s-s'-sav lie lows lluit Ki<-''it, liii;, I'ui'u;. 



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IT GRATES ON GRETA 

WHAT'S all dees mad rush about in 
dees mad cawntry, anyway, Greta 
Garbo would like to know. So much jomp- 
ing around. So much axcite-ment. She, 
Greta, went to a football game the other 
day and they do nothing but yall, yall, 
yall. Same way making pictures. Every- 
body yalls. Gretta goes home! 

Buddy Rogers talks about fan mail and 
his first trip to New York and new pictures 
he has done, just like a little boy discussing 
a new set of toys. His speech is quick and 
incredulous. He's more surprised than 
anybody else that the New York flappers 
stood in the corridors of an hotel for hours 
just to see him come in and out. He laughs 
nervously and juvenilely. Then he gets 
your advice on something. Do you think he 
ought to do this, or that, or the other thing? 
Well, he didn't either. But he just wanted 
to know what you thought about it. It's 
mighty nice of you to be so nice to him. He 
sure appreciates it. 

I don't want to leave you with the idea 
that we have no scintillating conversation- 
alists in Hollywood. For instance, there is 
Milton Sills who can talk about poetry with- 
out even looking self-conscious and can 
analyze Sandburg's meter without your 
wishing he hadn't brought it up. Polly 
Moran can hold her own in a good political 
discussion, too. And then there's Louis 
Wolheim, who used to be a college professor, 
and maybe you can think of some others 
yourself. 

But personally I like Hollywood best 
when she chats and gossips and wise-cracks. 
She's more herself. 



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Is Clara Bow's acting getting as hot as all this: that her director, Clarence Badger, 

and her leading man, Neil Hamilton, have to throw her into cold water between 

scenes? 

The Lowe-Down on the Talkies 

(Continued from page 67) 



who have had years of stage training — but 
what about the actors who are genuine 
artists in the silent drama but whose voices 
are untrained and weak? Are they going 
into the discard?" 

"Not unless they want to," answered 
Eddie, who seems to know everything. "It 
is going to mean a lot of extra work in voice 
culture and adapting themselves to the new 
medium. We people who have been on the 
stage have a good start on Janet Gaynor 
and Norma Talmadge and Corinne Griffith 
and a few others who are typically of the 
movies. But just because sound has come in 
doesn't mean that personality is going out. 
There will always be a demand for a lovable 
presence. I don't think that sound is going 
to dislodge any of our stars, if they will meet 
it half way." 

Well, that appeared to be that, but it just 
goes to show you how hepped up Eddie is 
about all this. He's just that enthusiastic, 
eager type. Anything new that comes 
along, Eddie is all for, whether it is this 
sound business or a new recipe for his cock- 
tail shaker. Or a new characterization. 

SPATS AND IDEALS 

WHEN Eddie first came to the movies 
from the stage, he was, what casting 
directors are pleased to call, the leading man 
type, with ideals, spats and everything. 
All he had to do was look handsome and 
stick around in case the heroine got in a 
dangerous plot development. His salary 
was healthy and his fan mail was regular. 
Then along came "What Price Glory." 
The immaculate Eddie wanted that part of 
the hard-boiled Qiiirl worse than anything 
else in his professional life. But nobody 
could see him in it. "Now, Eddie," his 
friends said to him, "you don't want to do 
that one. It's tough and profane and it 
won't do you any good with the fans who 
like their heroes diluted." 



But Eddie gave them an argument. And 
how. The best argument he gave them was 
the way he played Quirt. He made him a 
swash-buckling, snooty son-of-a-gun with 
hardly a redeeming feature and the upshot 
of that was that he never went back to the 
nice-boy parts. 

He's been naughty and made you like it. 
He's put flesh and blood and salt and pep- 
per into his characterizations and now he 
can hardly wait to get started putting his 
voice into them. 

"How do you suppose 'What Price Glory' 
would have gotten by the censors if it had 
been a talkie?" I wanted to know. "That 
lip movement of profanity was all right in 
the silent drama, but what would have 
happened if we had actually heard some of 
those close-ups?" 

"What happened on the stage?" Eddie 
came back. You can't down this boy on his 
favorite argument. "Women saw that show 
—and didn't faint. I think the talkies will 
not only improve the screen, artistically, 
but they will be the medium through which 
it is freed from a lot of silly censorship- 
restrictions. 

"For instance — if I play a crook I must 
talk like a crook. I've got to speak his lingo. 
That's art. That's characterization. Of 
course, the talkies may run into a lot of 
difficulties at first. They've got to fight 
down prejudice, and lawsuits and censorship 
but that's half the fun of launching any new 
development. Nothing good ever came intc 
existence that didn't have to fight for its 
place. The movie people who believe in the 
sound pictures and fight for them are going 
to be looked back on as pioneers. They ace 
going to be to the conservatives of the screen 
what the first film actors were to the conserv- 
atives of the spoken stage. They are going 
to be the trail-blazers." 

And outside the actors chanted "ah-ah"— 

The pioneer's slogan. 



Countenancing 
Mr. Colman 

(Continued from page io) 

The \var, perhaps, Mr. Colman? 
"Oh, no. Not the war! Vou don t want 
to bring that up. Best to forget it." 

LIVE AND YEARN 

B.-\CIv into the subconscious go those 
blinding memories. Memories of things 
that have broken and made men's souls. 
Fourteen years since England marched into 
the fray and still those memories remain to 
gouge the tranquillity of totlay. 

"It gives men a philosophy, or drixcs 
them mad. It was a terribh- hurried thing 
to me. War declared. Marched off to the 
front with the First Expeditionary forces. ' 

Staccato days. Nights ruled by shells. 
With the dawn, often, death. 

"Trenches. Third, second, first. Wounds. 
And then invalided home. It all passed in a 
whirl." 

And .what was the philosophy, Mr. 
Colman? What is your philosophy today, 
with the war far behind, a marriage gone 
aglimmering, floating by yourself in a sea 
of film success? 

A humorous gleam in Ronald's eyes. 
Those yearned-over, yearning browns. 

"Well, how about 'live and let live'?" 
His voice is English, husky and pleasant. 

One almost believed him. But, no! He 
couldn't permit that. 

"Or 'Gather ye rosebuds as ye may?'" 
The quizzical, ironic lips grinned. 

" How can a man condense his philosophy 
into one sentence? I am happy with my 
work, my tennis, my books, my friends, the 
sea, the mountains, my little beach shack 
and," — pausing — "well, there's my work." 

.\nd isn't that enough? 

HE BELIEVES IN MARRIAGE 
.\RRI.\GE,on the whole, is a necessary 
phase through which everyone should 
pass. "I suppose," added Ronald. No 
misogj'nist, this Colman. 

"It's as much a part of life as birth. No 
life is complete without it." 

(k)od, definite, British ideas about the 
thing. Ideas that have survived a marriage 
that ended before he came to America. An 
unfortunate marriage in some lights, per- 
haps. Unfortunate in that it did not endure, 
as marriages presumed to be made in heaven 
should do. 

That must have added something to the 
expressive physiognomy of Mr. Colman's 
face. 

Definite British ideas about the wonders 
of this mechanical age, too. 

"The talking picture, for instanCe. You 
will admit it is a supreme achievement of 
mechanics, even if >ou do not like it. The 
mechanical device is on the ascent. Interest 
has been centered on it for the past three or 
four centuries. .\nd what has happened to 
art? With every step forward that mechan- 
ics has made, that much has there been 
retrogression in art. 

"How do the Nathans, Fitzgeralds, 
Andersons of today's literary world com- 
pare with the Scotts, the Dickens of yester- 
day? And do they, in turn, rank with the 
Percy Shelleys and the Byrons of the step 
before them? It's the same way in music, 
in painting. How does a futuristic painting 
compare with, say, a Da Sienna, a Titian?" 

And how does it? 

But, oh that Colman look. The look of a 
sensitive artist with fine repression, born to 
play romantic r61es, who wants to do 
comedy. Comedy of the Lonsdale school. 
Deft, light, frequently satirical. 

The Colman look. Maybe it's that of a 
comedy soul snared in the body of a man 
doomed to play romantic leads. 

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The All-Star State 

{Continued from page 48) 

tear of making pictures is nothing compared 
to the wear and tear of Texas roads." 

If you can picture the orchid of the screen 
bounding along in a Ford on Texas roads, 
you'll get a faint idea of the camaraderie 
that Texas breeds. Even in her ladies. 

Of course, with Florence Vidor, it is a 
little different. Florence, or JMiss Vidor as 
we call her, has gone to great pains to iron 
Texas out of her background. She has 
elaborately replaced the soft Southern vowel 
with a broad, British one; and when she 
goes on little vacations it is usually to 
Europe rather than Houston. Somebody 
once referred to Houston as a backwoods 
town — which is hardly fair to either Flor- 
ence or Houston. As a matter of fact, it 
is quite a cosmopolitan city; and drawing- 
rooms were not entirely alien to La Vidor 
before she stepped onto a De Mille set. No, 
I do not think a backwoods town is at the 
root of Florence's English complex. Perhaps 
Houston holds sad memories for her, for it 
was from there that she and King Vidor 
started out to conquer the world — two am- 
bitious kids from Texas. They conquered 
the world all right, but not together. Now 
they are both treading Hollywood fame 
with different partners — and different ac- 



HER TAMALE TEMPERAMENT 

AT that, it is odd that the homiest and 
- folksiest state of them all should 
have produced the two great ladies of the 
screen. And three of her greatest beauties. 

A famous artist who visited Hollywood 
two or three years ago said the six loveliest 
women of the screen were: Corinne Griffith, 
Florence Vidor, Claire Windsor, Madge 
Bellamy, Billie Dove and Mary Astor. Out 
of that group, three hail from Texas — Madge 
being the third. 

The temperamental little Bellamy girl 
hails from San Antonio. It's a colorful 
town, an odd blending of the picturesque 
and the ultra-modern. It shelters the fa- 
mous old Alamo on one side of town and on 
the other is one of the most important air- 
port fields in the country. Madge's father 
used to be a professor in the university at 
San Antonio, and Madge herself brought to 
Hollywood an interesting commingling of the 
elements of her early background. Coupled 
with a strangely precocious mind, she has 
the face and form of a child and the temper- 
ament of a tamale. What but San Antonio 
could have produced such an individual for 
Hollywood? And what could San Antonio, 
for all its contribution of heroes and heroics 
to the world, have produced of which it 
could be more rightfully proud than Madge? 

Dorothy Devore comes from the more 
prosaic Fort Worth, where the cattle kings 
build marble mansions and dig oil wells in 
their own back yards — almost. They would 
if the city would let 'em. Maybe that's 
where Dorothy developed her nice sense of 
humor that has carried her so far in Christie 
Comedies. 

Thirty miles away, in Dallas, Bebe 
Daniels first saw the light of day. Dallas 
is the metropolis of Texas. Her women are 
as smart as San Francisco's. Her shops as 
chic as New York's and her younger set as 
fast-moving as Long Island's. When Kebe 
goes back to Dallas on a visit, she has just as 
much fun as she would in Paris. In the first 
place, Dallas is sufficiently up-to-the-minute 
to appreciate Bebe and her humorous so- 
phistication. And in the second place Bebe 
is sufficiently sophisticated to appreciate 
Dallas. The last time she was down there 
it was just one gay round of parties and 
entertainments. Bebe said it reminded her 
of Hollywood — only more so. She's going 
back again the first chance she gets. 



TWO I'RAIRIE MARYS 

DALLAS is also the home town of NLiry 
Brian, and of all the Texans who have 
made good in a big way in the movies, Mary 
most closely approaches the correct type. 
Mary is just a sweet little girl from the 
suburbs who is visited every year by her old 
school pals from down home. She even 
talks with a slow drawl thtxt is more Texan 
than Southern. She is so fresh from home 
and so new to the movies that Dallas figures 
more prominently in her conversation than 
does Hollywood. When Mary isn't busy 
making pictures for Paramount, she's up in 
her little apartment writing long letters of 

fossip and news of the movies to Texas, 
ust a little prairie flower, growing more 
popular every hour. 

Mary Hay, former darling of Broadway 
and ex-wife of Richard Barthelmess, is from 
Galveston. Galveston is the Texas sum- 
mer-resort, which is to say that it is less hot 
there than any place else. .\n army post is 
stationed there. Mary's father was an 
ofticer in command. Next to its army, Gal- 
\-estor. is chiefly noted for delightful night 
bathing. -At Roger's, a cafe out the beach 
road, they serve the best cracked-crab in the 
world — and Mary. 

Counting in Jacqueline Logan, that just 
about concludes the list of feminine charm- 
ers from the prairie state. Of course, Texas 
has produced some mo\ie men, too. Tor 
instance, the already-nientioneJ Kim; \ idor, 
also Elliott Dexter, Howard Hughes, the 
producer; and the late Tom Fornian. 

It is a funny thing that none of tliese 
people have ever been associated witli the 
making of western or prairie pictures 1 
guess that is what gives so many people the 
idea that Tom Mix, Buck Jones, Moot 
Gibson and Will I^ogers come'from Texas. 

But, no, Texas has gone in for tlie pro- 
duction of orchids, along with oil, cotton, 
cattle and exports. 

It must be that cowboys in Texas are 
regarded as such fixtures of everyday life 
that neither they themselves nor anyone 
who sees them ever regards them as inter- 
esting characters. No cowboy is a hero on 
his own range, and so he ne\'er thinks of 
trying to be elsewhere. 




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The Answer Man 



{Continued from page 8 



Studios, 5451 Marathon St., Hollywood, 
Cal. Did you see Dale Fuller in "The 
Wedding March"? Corinne Griffith is 
playing in "Saturday's Children," First 
National Studios, Burbank, Cal. John 
Darrow's next will be "The Younger 
Generation," Columbia Studios, 1408 Gower 
St., Hollywood, Cal. 

BABS. — Glad to hear from you again. 
Nils Asther has only had pictures in our 
Dec. 1928, Motion Picture and in Dec. 
1928 Classic. Ronald Colman is playing 
in "The Rescue," Samuel Goldwyn Prod.. 
7212 Santa Monica Blvd., Hollywood, Cal. 
You bet, I still like my buttermilk. Jerry 
Drew is married to Ajiita Geirvin. 

W. G. v.— Your letter came in too late 
for the January issue. The Vitagraph 
Studio is located at Elm Ave., Brooklyn, 
N. Y. Phyllis Haver is playing in "The 
Office Scandal," Pathe Studios, Culver 
City, Cal. "The Love Song" was changed 
to "Masquerade," Lupe Velez and William 
Boyd have the leads. Address your letter 
to Doris Dawson at the First National 
Studios, Burbank, Cal. 

TOOTS, BOOTS AND COOTS.— What's 
in a name. Could I live on twenty-five 
dollars a week.-* Yes, but no longer. You 
may write Billie Dove at the First National 
Studios, Burbank, Cal. Clara Bow and 
Buddy Rogers, Paramount Studios, 5451 
Marathon St., Hollywood, Cal. Sue Carol, 
Fox Studios, 1401 No. Western Ave., Los 
Angeles, Cal. Send me a self-addressed 
envelope for the list of pictures I can supply 
you with. 

NILS ASTHER FAN.— Wouldn't get 
by unless we had one every month, lately. 
Nils is playing in " Dream of Love," starring 
Joan Crawford. Anita Page is five feet 
two, weighs 1 18 pounds. Latest picture is 
"Broadway Melody," write her at Metro- 
Goldwyn Studios, Culver City, Cal. Joyce 
Goad is still growing. Malcolm MacGregor, 
Tiffany- Stahl Prod., 4516 Sunset Blvd., 
Hollywood, Cal. 

SKEETER.— Clara Bow and Colleen 
Moore were born around your birthday. 
Ramon Novarro was born in Durango, 
Mexico, Feb. 6, 1899. Not married. Thomas 
Meighan, Pittsburgh, Pa., on April 9, 1887, 
married to Frances Ring. Betty Bronson, 
Trenton, N. J., Nov. 17, 1906, single. Mary 
Astor, Quincy, 111., May 3, 1906. Married 
to Kenneth Hawks. Ben Lyon, Atlanta, 
Ga., Feb. 6, 1901, single. Dolores del Rio, 
Durango, Mexico, Aug. 3, 1905, not mar- 
ried. Drop in again sometime. 

GARY COOPER FAN.— Gary was born 
in Helena, Montana, May 7, 1901. He is 
six feet two inches tall, weighs 180 pounds, 
has reddish brown hair and blue eyes. Not 
married, latest picture is "The Wolf Song." 
Your letter will reach him at the Paramount 
Studios, 5451 Marathon St., Hollywood, 
Cal. I believe the mail-man's back is al- 
most broke when he gets through delivering 
his fan mail. The song theme of "Fazil" 
was "Neapolitan Nights." Thelnia Todd 
is playing in "Seven Footprints to Satan." 
First National Studios, Burbank, Cal. 

E. E. B.— Claire McDowell was the 
mother in "Ben Hur." Lili Damita is 
about twenty-three years old. Has blonde 
hair and brown eyes. Her latest picture 
is "The Rescue," starring Ronald Colman. 
Well, what if the candidates did deliver 
the same radio speeches every night? Jazz 
orchestras play the same music every night. 



ALA.RIA.— ZaSu Pitts is still playing; her 
latest pictures are "The Wedding March" 
and "The Dummy." Write her at Para- 
mount Studios, 5451 Marathon St., Holly- 
wood, Cal. James Hall was born in Texas, 
Oct. 22, 1900. Latest picture is "The Case 
of Lena Smith." Eva Southern is 
playing in "The Girl Who Came Back," 
Tiffany- Stahl Prod., 4516 Sunset Blvd., 
Hollywood, Cal. Bebe Daniels has never 
been married. She was born Jan. 14, 1901. 

SPOOKS AN ADMIRER.— Clara Bow 
is playing in "The Saturday Night Kid," 
John Mack Brown in "A Lady of Chance," 
write him at Metro-Goldwyn Studios, Cul- 
ver City, Cal. Richard Arlen, "The Four 
Feathers." Ramon Novarro is still a 
bachelor. The joke reminds me of the little 
boy who used to wish his father owned a 
CEmdy store; now he wishes it was a filling 
station. You may write the Tom Mix 
Correspondence Club at 1623 Ludlow Ave., 
Indianapolis, Ind. 

THE SHEIK.— I believe you are refer- 
ring to Thomas Meighan's "The First 
Degree Murder." A company of over 1000 
extras went down to Guadalupe, Mexico, 
for a Sahara Desert scene for the Tiffany- 
Stahl special production "Squads Right." 
There were pack burros, tramps, sheiks, 
French Legion men in light tan shirts, 
commissary departments — in fact, it looked 
like a small army on the march. Buster 
Collier and Alma Bennett are in the cast. 

ROSEMARY F.— Richard Arlen was 
born in Charlottesville, Va., thirty years 
old, five feet ten and a half, weighs 156 
pounds, and has brown hair and blue eyes. 
Real name Richard Van Mattemore. Send 
your letter to him care of the Paramount 
Studios, 5451 Marathon St., Hollywood, 
Cal. Forgot to tell you he is married to 
Jobyna Ralston. Norma Shearer can be 
reached at the Metro-Gcldwyn Studios, 
Culver City, Cal. Clara Bow at Paramount, 
address above. 

BOODLES OF CHICAGO.— Yes, I can 
supply you with a photo of Billie Dove, it 
is different from the last one 3'ou received. 
Billie was born May 14, 1903. She is five 
feet three, weighs 120 pounds. Playing in 
"Adoration," Antonio Aloreno plays oppo- 
site. Write her at the First National Studios, 
Burbank, Cal. Richard Dix in " Redskin." 
Write Richard and Ruth Elder at the Para- 
mount Studios, 5451 Marathon St., Holly- 
wood, Cal. 

PAT. — Why should Shakespeare have 
been a good quarterback? Because he had 
so many long-run plays. I can supply you 
with photos of Marian Nixon, Davey Lee, 
the child who played in ' 'The Singing Fool." 
Tom Tyler was born in Port Henry, N. Y. 
twenty-six years old, he has light brown 
hair and blue eyes. Write him at the FBO 
Studios, 780 Gower St., Hollywood, Cal. 
Janet Gaynor is live feet tall. Ken Maynard, 
five feet eleven. 

KLEVER KITTY.— Barry Norton was 
loaned to Paramount to play in "Sins of the 
Fathers," starring Emil Jannings. Address 
your letter to him at the Fox Studios, 1401 
No. Western Ave., Los Angeles, Cal. Hop- 
ing I have made this clear. The most dis- 
agreeable vanity is that of the man who 
thinks he is as smart as you are. John Boles 
has the lead in "The Desert Song." 
(Continued on page 122) 




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She's Young And She 
Can Prove It 

{Continued from page SQ) 

a picture. When I walked into his office, he 
gaped at me in amazement. 

'"You're not — Lila Lee!' he gasped. 

"'I am,' I told him, knowing exactly what 
was coming. 

"'Well — my dear — I hardly know what 
to say,' he stammered. ' 1 have done you a 
fearful injustice. I had the impression that 
you were a very mature woman. And the 
part I wanted to talk about is that kind of a 
part. I'm sorry. But you won't do at all." 

"This has happened a lot of times. Of 
course I am not so young ..." deprecat- 
ingly — "Twenty-three is not a baby. But 
still I don't feel that I am ready for mothcr- 
r6Ies — would you?" 

Looking at her across the table, I thought 
not. Decidedly not. In these days it is 
hard to tell the age of any woman by looking 
at her. Particularlv between the ages of 
twentv and thirty. lUit lila, in her little 
round hat, her face, witli its hint of dimples, 
ahnost devoid of niala-ii|). Iilt slim legs 
twined round a leg <:>! lur chair, could have 
passed easily for eighteen. 

I began to feel quite indignant on her 
behalf. 

"\'ou see," she went on, "the trouble is, I 
have been around for so long, really. I 
started in with Gus Edwards when 1 was 
five. Remember Gus PZdwards's ' Bandbox 
Revue'? Remember Cuddles, the little girl 
who sang and danced with Georgie Price? 
That was I. Cuddles." 

Shades of my childhood! Did I remember 
Cuddles? She was as important as Peter 
Pan. 

A FLAPPER OVERNIGHT 

"T CAME out here when I was twelve," 

■I- Lila went on. "They expected to use 

me in children's parts. I was small, you see, 

for my age. 

"By the time I was fourteen they were 
dressing me up in long skirts and piling my 
hair up on my head and I was playing leads 
opposite Wallace Reid. 

"I remember that I wanted to look like 
Gloria Swanson. She was my idea of a really 
elegant lady. And I asked her if I could use 
that shiny, patent-leather-looking head- 
dress thing that she wore over her hair. 
She said I might, and maybe you think I 
didn't feel dressed up in that." 

Mrs. Gus Edwards, herself, had joined us 
by this time; and Lila called upon her to 
corroborate her story of her age and be- 
ginnings. 

The conversation drifted to reminiscences 
of vaudeville days — when Lila was Cuddles 
— with constant interjections from the sub- 
ject of my interview about, "How old was 
I then?" 

HER MUMPS AND ROMPER DAYS 
"'TpH.AT was the year you had mumps," 

JL Mrs. Edwards would recall. "I think 
you were about eight." 

" I lived with Mrs. Edwards, you see," 
Lila explained, "She looked after me all 
the time I traveled with Mr. Edwards's 
compan\. She knows!" 

Mrs. Ivlwards did know. Moreover, she 
had proofs to offer. We repaired to her 
apartment and she went through her files 
and brought out pictures of Lila in the old 
days. Lila in rompers, at the beginning of 
her career. Lila in a kilt. Lila when she had 
reached the lanky age. 

" I won't be an old lady before my time," 
she declares. "My time will come soon 
enough, f^ut understand — twenty-three — 
is my story and I'm .sticking to it!" 

Can you blame her? 




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Rubber Stamping 
The Stars 

{Continued from page j^) 



line on Clara. It's all so beautifully easy as 
it is. Gabble runs along well-oiled tracks. 
^^■ho wants to go in for detours? Clara 
has It. It Sticks. 

Ronald Colman is a hermit. A woman- 
hater. Don't talk back, he is. Hollywood 
has SO decreed. It is a swell tag. He is a 
hermit and a woman-hater, and if he should 
burst into the limelight with a fully equipped 
seraglio comprising a league of nations, it 
would avail him nothing but economic pres- 
sure and a little time. 'Twould not be be- 
lieved. 

Pola was proud and haughty. Temper- 
amental. Let her slap Hollywood on its 
shoulder blades as she wOuld, let her be the 
pal type all over the lots. No good. 

Lois \Mlson tried for years — well, months 
then, to break the bonds of vaunted virtue. 
I speak literally. No use. Lois was clean- 
cut, wholesome, immaculate, unbesmirched; 
and try to blot that escutcheon if you can! 
Immaculate and unbesmirched she is to re- 
main, forever and forever, world without 
end, and longer than that. 

MARIE AND KEn's TAG 

MARIE PREVOST and Kenneth Harlan 
probably have some individual in- 
terests. It is likely, it is even probable, that 
they do not spend twenty-five hours out of 
twenty-four marrying, separating and mar- 
rying again. I wouldn't be stunned if I 
should find that they eat and build houses 
and read scripts and sign contracts and 
what-nots. But you'd never guess it if you 
could sit in at a session where Marie and 
Ken are the conversational cat's-paws. No 
one, no one, ever says anything about them 
but, "Have you heard that Marie and Ken 
have separated again?" or "Have you heard 
that Marie and Ken are together again?" 
Or—. 

Garbo is a vamp. So, alas, were Theda 
Bara, Barbara La Marr, Louise Glaum and 
other lovely, lecherous ladies already gone 
the ways of all flesh. Their lines strangled 
them. Garbo is a home-destroyer, a batter 
of devastating eyelids; and let her romp 
over hillside and canyon, as she does; let 
her wear old clothes and never notice it; let 
her be indifferent to all men — she may as 
well stay at home. She bears a swell label. 
It rolls the ball of talk slickly. 

THE MARK OF MADNESS 

BARRYMORE, JOHN, is mad. If he 
should work out the highest of high 
calculus, translate the Upanishads, cook 
like Jack Dempsey, darn his own socks and 
build a house and lot, it wouldn't help a jot 
or tittle. The legend of the Barrymore label 
is affixed. Rip it off who can! 

Doug is athletic. He is fit. He could 
wheeze with the white plague and Holly- 
wood would pause only long enough to say, 
"What chest expansion!" And go on from 
there. 



\^'e could go on, forever and forever, too. 
The moral of this tale is that Rudy loathed 
being a sheik, that Pringle breeds chows, 
that Milton Sills talks out like a he-man, 
that Doris Kenyon can have a brain-storm, 
that Billie Dove does paint walls, that Flo- 
rence Vidor is not always elegant, that Lya 
de Putti once said her prayers and likes 
bedtime stories, that Clara Bow sometimes 
has lunch with a girl-friend and likes it, that 
Ronald Colman has been known to step out, 
that Pola — oh, but why go on? It is too 
hard. Stick back the labels; and God bless 
you! 



She's a Polly Good Fellow 

{Cotil in tied from page 74) 

She was right ill form when I found her in 
the pilliiirity .It-part nu-iit out at M. (;. M., 
surroiuiiU-(l h\ a luUon^K aiuusod i;i'oup 
consisting ol tlu' k-adini; dramatii' critic ot 
Los Angeles, two featurc-sx ndicatc writers 
and five publicity men. PolK was all wound 
up about talking over the radio and >lu' was 
just at the point where "it didn't make an\ 
difference if her false teeth dropped down 
because it would sound like static an\ way, " 
when someone hauled her into a private 
room to meet me. 

BOOSTING HER BILL 

SHK gave one of those low-swung, honcst- 
to-C.od grips that left the imprint of m\- 
ring on my hand for weeks, and said she was 
glad to meet me. And then the fmi be-an, 
with Polly leaping boisteronsU o\ei one 
topic and then another. She w.is >ore ,U liill 
Haines. He had gone off to New ^ ork with- 
out telling her gooddne. W as that anv w,,\ 
for her bov-friend to ,ut .^ Hut ^oo.ldne or 
nogood-bve, she was ri.;lit tlure to tell the 
world that Bill was the linest, the most w.ui- 
derful, the squarest fellow 1 ,oA had e\er 
put breath into. .\nd .Marion I'axies! ~-a\ . 
don't get her started on M.inon, (\^^A iM\o 
her. She, Polly Moran herself, would like 
to stand on the street corners and tell the 
cock-eyed continent about the wonderful 
things that girl did for her friends. Just let 
anvbodv sav anvthing about Marion to 
Polly! '.\nd Fannie Hrice! There was a 
great scout for you. So was Xora Bayes. 
She had gone to school w itli Xora when they 
were a couple of kids in t liicago. 

Those school da> s ! Lord, how it made her 
chuckle to look back on them, \^■hat a 
hoot -owl she had been. She could just hear 
her teacher now, " Pauline .Moran, put that 
dill pickle back in your lunch sack." She 
spent more time after school than she did 
in her classes. 

"Ah, I didn't have my mind on it any- 
way," she scoffs. "I wanted to get on the 
stage. None of my folks had ever been on 
the boards, but I got it into m>' head at an 
early age that I was destined to be some- 
thing great. My mother, God love her, was 
just as crazy about going to the theater as 
I was, and on account of my father being 
in the billboard business we got a lot of 
fjasses. When I'd come back to school, my 
mind would be so full of the show I'd seen 
the night before that I didn't know when 
they changed from 'rithmetic to spelling. 
Sometimes my imagination of the plot 
would be so vivid I'd yell right out in that 
quiet classroom, 'Unhand me you low-lived 
scoundrel!' Then I'd have to stay after 
school for it." 

Polly's flaming start 

POLLY nursed her theatrical ambitions 
unrealized until she was about ten years 
old. Then an advertisement came into her 
life. At that time the stage wasn't what it is 
today; instead of pretty girls barnstorming 
the stage doors, there was often such a 
shortage of material that even the best 
companies had to run an ad in the Help- 
Wanted columns. It was one of these that 
caught Polly's eye and she hounded her 
mother to the verge of a nervous break-down 
to let her answer the plea. 

"Finally she consented," Polly went on, 
"and we stayed up all night getting my 
hair curled. Believe me. it was curled when 
we got through with it. \A'hen I went dow n 
to the theater, it wasstandingout sofarfrom 
my head that I looked like a Hottentot. But 
I got the job. I was supposed to be a torch 
girl and that night as I came on the stage 
I made a flaming debut into the theater. 
{Continued on page up) 




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The Love Life Story of Marie Prevost 



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{Continued from page 45) 



Kenneth Harlan. I said I wouldn't. I said 
I hated him. "Of course, you can make me 
work with him but 1 won't do good work. 
I just can't stand him." 

But they made me. I went onto that 
picture more ritzy than at any other time of 
my life. He came the same way. He had 
the same feelings about me that I had 
about him. We hated each other without 
knowing one another. 

The third day of the production he asked 
me to marry him. Love is like that. You 
can never tell when it lurks around the 
corner. That's when it hurt — being already 
married. I knew I loved Kenneth Harlan. 
I've said at the beginning that we take the 
word love too cheaply. We use it as we 
would use the expression, "Have you had 
your iron today? " But when real love comes, 
a woman knows that this word is not to be 
treated like an ordinary term, an ordinary 
question. 

THE TEST OF KEN 

I TOLD Kenneth that I would marry 
him but that he would have to wait 
until my divorce and then a year before we 
could be married. I think the way he took 
my secret is the reason that I loved him as 
I perhaps will love no one else in my life. 
He was so wonderful. So understanding, so 
sympathetic. The fact that I was already 



married seemed to make no difference. 
What better test could be given by any 
woman? 

My divorce was granted on a holiday; 
the next day was Saturday; we were work- 
ing and couldn't get to the license bureau 
before noon ; then there was Sunday. They 
were the longest three days of my existence. 
Monday we were married. I always had to 
be married in a church and have a minister 
and all the trimmings which my child 
imagination had created for a ceremony so 
solemn. \\'hen Kenneth and I arrived at 
the church, there was a camera standing on 
the altar. I asked who had put it there. 
They pointed out Harrison Carroll. I went 
up to him and asked, "Are you married?" 

"Yes." was the answer. 

"Are you happily married?" 

"I guess so." 

" I work all day long, sometimes all night 
long in pictures. Won't you please let me 
just get married without doing it before a 
camera?" 

He was the sweetest man I ever knew and 
went out and let Kenneth and me be mar- 
ried as a man and woman should be married 
with only love and God between them. 

Perhaps this doesn't sound like Marie 
Prevost, as you know her. But I have 
never talked before on love, the kind of love 
that really matters. Kenneth and 1 were 




Raquel Torres and Fay Webb have applied the half-a-loaf idea to trans- 
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inasmuch as both are both good skates and good skaters 



h.ipp>- at first. We adored one another. 
Hut the old saying that when respect goes 
love goes with it is a truth that can never 
lie altered. It took seven months, finalK , 
after two years together, for love to go. In 
my mind I knew it was going, but I kept 
clinging to my illusions. My heart, my soul, 
wouldn't admit that my second dream had 
been blasted. We separated. Later, we 
went back together again. But you cannot 
build new fires on old ashes. I think that 
ever>- separated couple should go back to- 
gether for a period just to prove to them- 
selves that it is useless. \\'hen the bubble 
once breaks, it cannot be reblown. 

During our first separation, I did not run 
around a great deal. 1 didn't want to. I did 
meet Ward Crane and see a great deal of 
him. He was one of the most wonderful 
men whom God has ever created. He was 
an older person; he understood me and my 
problems. I understood him and sympa- 
thized with him. Of course, no one can be 
seen with a man in this city but that an 
affair is heralded. Ward was one of the best 
friends I ever had and I like to belie\e that 
I was one of his real friends. For six or 
seven months before anyone knew it, \\ ard 
was d\ing. When I met him, his supjiosed- 
to-be friends seemed to have forgotten this 
man who at one time was a hero. He was 
completely alone; disillusioned. He felt his 
friends who had once courted and sought 
him had forgotten, now that he was ill and 
down on his luck. I was the only person 
who seemed to realize how sick he was. I 
like to think I helped him to forget the 
unkindnesses of others. His death was a 
calamity. 

MEN ARE ALL THE SAME 

NOW Kenneth and I have separated 
again and we are not going back to- 
gether. .\t first, after this second separation, 
I started playing around, going from this 
place to that with other fellows. It gave me 
something to do. I believe the first instinct 
of a woman who separates from her husband 
is to go places and see things. It keeps her 
from being lonely and restless and missing 
the companionship which any marriage 
offers. But 1 found that men are all the 
same. The boys who take me out one night 
and say, "Oh', you're the most wonderful 
creature I have ever seen," take Phyllis 
Haver out the next night and say the same 
things to her. 

So now I call the men whom I go places 
with, "lots of laughs." They are fun, they 
are good playmates, they are the kind that 
make you feel nice because they say pretty 
things' to you. I like them but I never 
think of loving them. 

Really, I am the wrong person to write 
my love life. For irrespective of what 
people think about actresses and their 
affairs, I do hold love sacred. I've always 
been married. Have you ever seen a canary 
let out of a cage? It fiits around the room 
for a few moments and then dashes back to 
the porch from which it has been released. 
It doesn't appreciate its freedom. A woman 
is like that. My first husband was a dream; 
Ward Crane, the best friend I ever had, 
died: my second husband was a disappoint- 
ment. Ben Lyon, Jimmy Hall, Matty 
Kemp, and the other boys who are my 
laugh partners are just good pals, good 
fellows. Contrar>' to the verdict of the 
world, I have found plenty of men in Holly- 
wood who are content to be just pals and 
darn good friends to a woman. 

Perhaps my love life is not complete. 1 
hope not. I'd hate to think that I could 
never fall in love again. However, I some- 
times wonder if any woman's love life is 
every really completed except in the film of 
her romantic imagination. 

Being in love seems to confuse you ubout 
what love is; it leaves you wondering 
whether, indeed, you've ever known it — 
or would know it if you came upon it. 




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More time to play 

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Shopping- with Billie Dove 



{Continued from page 6g) 



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Plain white gloves came next. "No cuffs, 
please," to the clerk; "fine white kid is 
always the dressiest," to me. 

The bags were not so simple. " I suppose 
that I have plenty of bags which would have 
harmonized with this costume. But I like 
to have every outfit complete in itself. If I 
were only able to afford two changes of cos- 
tume, I'd have everything to match for those 
two and never interchange them. It is one 
of the really important secrets of a well- 
dressed woman." It took us fully an hour at 
this counter. A delicate beaded bag was the 
result. There was no question but that the 
bright colors livened the slight sombreness 
of the black velvet. 

A blouse of metal cloth, simple in lines but 
elaborate enough in texture for the most 
formal afternoon occasion, was the next pur- 
chase. She slipped it on in the dressing-room 
'■' ' coat fastened tightly 



1 going, as I 



about it. "You see, when I 
am today, to a really 
elaborate function, I 
can wear this blouse 
under this coat in the 
morning and no one 
will know whether 
it is simple or elab- 
orate. 



I AM so glad that 
the large hand- 
kerchiefs have come 
into style. They are 
so much more dressy 
•and so convenient 
when you are making 
one costume do for 
two purposes. I carry 
a plain linen one in 
the morning; and 
now we will get a 
large one with a bit 
of lace to hang from 
my bag. Of course," 
— her eyes twinkled 
— "I'll still carry the 
little white one for 
nose purposes. The 
big ones are simply 
to make me look a 
little more showy." 

For shoes, we left 
the department store 
and went to a shop 
where Miss Dove 
was not so well 

known. The clerks had been well trained 
in the first place, but here they hovered 
about her, fussy, over-deferential in their 
attention. As a result, Billie hurried with 
her purchase, choosing a neat pair of black 
suedes with semi-French heels and dainty 
bows of moire ribbon. 

"Please charge them to " 

"Oh, yes, i\Iiss Dove." The clerk hurried 
to show that it was not necessary for her to 
tell him who was making the purchase. 

"That's what I hate," she said as we left. 
"He called everyone's attention to me. 
Isn't it funny that a motion picture star 
can't be taken for just a plain woman and 
allowed to do her shopping without feeling 
that she is forever before the camera? You 
just have to put on an act in this business 
whether you are working or not working. 

EVER DRESSY 
""^JOW we'll go to the dressmaker's and 
i^ pick up my hat. It wasn't quite fin- 
ished this morning. Then I'll put on these 
fixings right in the car and show you how 




Clara Bow hasn't a leg to stand on in 

this pose. But so long as she has a keg 

to sit on, she doesn't seem to mind 



quickly I can change from being semi- 
tailored to really dressy." 

I was surprised to find a plain little black 
velvet tam-o-shanter. I had expected a big 
hat with at least black lace trimming, "I 
believe hats should fit the personality of the 
person who wears them. Some people would 
have to have a really fancy chapeau for 
afternoon wear, but I like tams and feel just 
as much dressed in them as I would in a 
picture hat. Personality is the secret of 
charm in dressing just as it is in acting. 

"Now watch me doll up." As we settled 
ourselves back in the car, she drew down the 
shades, pulled a big box from the floor, took 
out a pair of fox furs, a pearl necklace, a pair 
of pearl drop earrings. I opened the boxes 
from the store for her. With lightning 
rapidity she screwed on the earrings, fas- 
tened the pearls around her neck, pinned the 
flowers on her left shoulder, fastened the 
handkerchief in her bag, slipped out of 
the flat heels and ■ 
into the high ones, 
tossed her furs 
around her shoul- 
ders, snuggled the 
tam well down on her 
forehead, whisked out 
her compact, touched 
up her lips and pow- 
dered her nose, 
worked on the white 
kids, threw back the 
coat cape and said 
triumphantly, " Now, 
look me over!" 

HOW MUCH COST 

IT was the first 
time I had no- 
ticed the lining of her 
jacket. It was of 
delicate beige satin 
to match the color 
of her furs. "Don't 
you think this lining 
makes it look snap- 
py? I wear the coat 
closed in the morning, 
thrown back in the 
afternoon, or I can 
take it off entirely 
and just wear the 
furs with the blouse 
and skirt. It really 
makes three dresses 
because I can go on 
to an informal dinner 
in it if I don't have 
time for changing. 
When it warms up in the afternoon, I take 
off the coat. When it gets cool, I put it on. 
And just think of all the money it saves me." 
We did think, being the kind that has to 
think of money. We made some rapid men- 
tal calculations. The dress and hat, counting 
the dressmaking, hadn't cost over fifty 
dollars. I didn't have the furs and couldn't 
afford them, but the dress would look mighty 
chic with a flower and without the furs hang- 
ing about it. If I had to work in the morning 
I could wear a plain blouse, carry the other 
in a little box under my arm, slip into some 
dressing-room to change it — not having a 
limousine to turn into a dressing-room when- 
ever I needed it. Billie hadn't changed her 
stockings, so that needn't bother me. Yes, 
shopping with Billie Dove had been not only 
interesting and amusing but it had given me 
a practical lesson. I was going home and 
make me a suit which would do for business, 
luncheons and dinners. And if Billie Dove 
could wear the same for all three occasions 
and feel dressed up in it, I could wear one 
and feel decidedly ritzy. 



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She's a Polly Good Fellow 



{Continued from page //j) 




Fla 




right. I got my torch too close 

my well-curled hair and before 1 knew 

what was happening they had dragged me 

olT tiie stage and smothered my head in a 

blanket. You might say I was a burning 

From then on Polly was on the stage, and 
luM- career took various bounds and re- 
liouiuls. She had a high, sweet voice for a 
kid; liofore she was si.xtcen she was singing 
Kailiiig roles with the Columbia OjxTa 
Company in Chicago. If anyone had had 
tlio foresight to train Polly's naturally lovely 
\()ice, she might have made a name for her- 
self in music, but by the time she landed in 
New York coon-shouting had become tlie 
rage and Polly sacrificed her operatic 
chances to give Sophie Tucker a run for 
her money. 

She was a big hit in vaudeville w-ith her 
wise-cracks and her songs and her stories. 
She could kec]) audiences roaring so con- 
sisteiith- with lier funny faces and pan- 
toniiiiie dial when she finally got out to the 
Coast with her ael, Mack Sennett offered 



THE D.W GLORIA CAME 
'T~"HAT was the beginning of her Sheriff 
-*- Nell fame and Polly loves to talk o\-er 
the good old days at the Keystone lot. 
"Believe me, I can remember the very day 
and hour that Gloria Swanson and Marie 
Prevost and Phjilis Haver set foot in that 
studio." She grinned. "Those were the 
care-free days! Nobody had ever heard of a 
supervisor." 

Right in the midst of her present M.G.M. 
contract it makes her shake her head and 
throw up her hands when she thinks of the 
luxurious way in which money is spent and 
wasted on the present-day movies in com 
parison with her early efforts. "Three 
hundred thousand dollars is just barelj 
enough for a program picture now. And in 
those days it would have made four super 
specials with a Griffith battle shot thrown 

In case anybody should drive up and 
ask you, Polly has salted away dor own 
earnings against the proverbial rainy da> 
If she were to give out a little free advice to 
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fools who don't make this business pa>, not 
only during your good years w'.ile the sun 
shines, but after they're tired of you." 

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work six or seven months before Frances 
Marion discovered me for 'The Callahins 
and the Murphys.' .^fter that things hr< k 
pretty good for me with this new contr I 
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'Buttons' to do. But I've got my moth i 
and my little eleven-year-old kid to sufiport 
anfl the only lucky break I recognize is 
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120 




Letters to the Editor 

(Continued from page 8) 



On "The Wedding March" 

CLEVELAND, OHIO— Allow me to pay 
tribute to von Stroheim and his "Wedding 
March." 

This picture is a marvel, no less. It leaves 
one stunned by its beauty and by the 
breadth and magnificence of its conception. 
What must it have been before cutting! 

To have directed such a film, and also 
to have done such a wonderful piece of 
acting, would have been an impossibility 
for any but a genius; and von Stroheim is 
just that. (And be it said that, with every 
opportunity to do so, von Stroheim never 
hogs the camera.) 

The others of the cast are excellent. Fay 
Wray as M itzi with her innocent face and 
charming ways is a perfect foil for the pol- 
ished and heartless (?) Nicki. 

Cesare Gravina — ^bless him! — in his part 
is perfection. The Corpus Christi scenes are 
marvels of color and grandeur; the seduc- 
tion scene is breath-taking in its sinister 
beauty. Hail to von Stroheim! 

Pearl Kateley. 



Stars at Home 

LOS ANGELES, CAL.— Having lived in 
Los Angeles for many years, I have had the 
opportunity of seeing quite a few actors in 
person — ^some I liked and some I did not. 
Nevertheless, I think they are a brilliant, 
fascinating people whom I always enjoy 
seeing. They are different — the atmosphere 
in which they live and work is different. 

But they are real human beings and the 
majority are congenial and lovable people 
whom you can't help but admire tremen- 
dously. 1 have watched them just like 
any motion-picture "fan" and have been 
thrilled in the same way — for I am an 
ardent fan myself — and so I judge them 
accordingly. 

Among those I have met, Mary Pickford 
was the sweetest and dearest. Charles 
Rogers seemed just a nice young fellow — • 
the kind you'd like for a "beau." Gloria 
Swanson — to tne — was very nice, and Mary 
Brian is adorable. Some were snobbish — ■ 
and some were aloof and distant. But I find 
most of them willing to autograph a leaf, 
give a smile or do some little trifle which 
means a great deal to a " fan."' I am for the 
motion pictures! Long may they prosper! 
Betty Hillman. 



Get Your Noise Elsewhere! 

SURREY, ENGLAND — The death of 
the silent drama would be a tragedy indeed 
to many who go to the pictures for a rest 
and change from the noises and turmoil • 
that infest the day. 

If, for instance, all the racket and .gun 
firing is going to be heard, it will cause 
people to stay away rather than come out 
with bad headaches — hence — box office re- 
turns will drop and the popularity motion 
picture entertainments have hitherto en- 
joyed will fall off. 

I am a regular reader of Motion Pic- 
ture and a keen picture goer and to be 
deprived of either of these — which are my 
only pleasures — would be a great loss to me 
and I am only one of many; therefore I say 
most emphatically — on with the silent 
drama and let those who want noise seek , 
their pleasures elsev.'here. C. M. S. 



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Surely this is convincing proof of 
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School of ^lusic! And 
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Many of this half mil- 
lion didn 't know one note 
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It is like a fascinating game. From 
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The Answer Man 

{Continued from page 112) 

J. S. — ^Tom Mix and Billie Dove played 
in "The Lucky Horseshoe." Kathleen 
Meyers was the girl in "Dick Turpin." 
Mary Pickford played in "Less than the 
Dust." Your stationery is 0. K. Why 
apologize? Philippe De Lacey's latest pic- 
ture is "Napoleon's Barber." John Loder, 
Jack Holt and Nora Lane have the leads 
in "The Sunset Pass," Paramount Studios, 
5451 Marathon St., Hollywood, Cal. 

D. J. F.— Don't think I will buy any of : 
that flannel money — it does shrink. Loretta 
Young was born in Salt Lake City, Utah, 
Jan. 6, 1912. She is five feet two, 98 pounds, 
dark hair and eyes. She danced on the stage 
before entering pictures. First picture was 
"Naughty But Nice" as second lead. This 
was released in 1927. John Gilbert and 
Mary Nolan have the leads in "Thirst." 

BROWNEE. — You may write Baclanova 
and Fay Wray at the Paramount Studios, 
5451 Marathon St., Hollywood, Cal. 
Raquel Torres, Anita Page and William 
Haines at the Metro-Gold\vyn Studios, 
Culver City, Cal. Monte Blue, Audrey 
Ferris, Warner Bros. Studios, 5842 Sunset 
Blvd., HoUywood, Cal. Mary Philbin, 
Universal Studios, Universal City, Cal. 
Why give me the merry Ha Ha? 

S. P. J. — Clara Bow was born in Brook- 
lyn, N. Y., Aug. 8, 1905. She's five feet 
two and a half, weighs 109 pounds, red hair 
and brown eyes. Her latest picture is 
"The Saturday Night Kid," Neil Hamilton ' 
is her leading man. Send your note to her 
at the Paramount Studios, 5451 Marathon 
St., Hollywood, Cal. Don't feel bad because 
vacation's over. Pity the poor fishes; they 
must stay in a school all the year 'round. 
Write Harold Lloyd at 1040 No. Las 
Palmas Ave., Hollywood, Cal. 

M. L. D. — There are lots of people who 
walk a mile for a movie. Yes, I liked "Our 
Dancing Daughters." Joan's next picture 
will be "Dream of Love." She receives her 
mail at the Metro-Goldwyn Studios, Culver 
City, Cal. I quite agree with you about 
Conrad Nagel. Gary Cooper is just as good 
looking ofT the screen as on. His latest pic- 
ture is "The Wolf Song." Paramount 
Studios, 5451 Marathon St., HoUywood, 
Cal. Thanks for the bouquet. 

ANOTHER HOBO.- 
:he outfit? Loretta Youi _ 
1912. She is five feet two, weighs 98 pounds, 
has dark hair and eyes. She plays opposite 
Richard Barthelmess in "Scarlet Seas." 
Sue Carol is twenty years old. Sweet Sue, 
as you call her, receives her mail at the Fox 
Studios, 1401 No. \\'estern Ave. Colleen 
Moore was born Aug. 1902. 

HELEN AND HOW.— So you adore dark 
men. You'd have a big time in Africa. 
Joan Crawford was born May 23, 1906. 
Louise Brooks in 1905. Clara Bow, Aug. 
8, 1905. Gary Cooper, May 7, 1901. BiUie 
Dove, May 14, 1903. Ahcc White was born 
in Paterson, N. J., about eighteen years ago. 
Her latest picture is "Hot Stuff." First 
National Studios, Burbank, Cal. Clara Bow, 
"The Saturday Night Kid," Paramount 
Studios, 5451 Marathon St., Hollywood, 
Cal. 

THE DESERT BLOOM.— Ramon No- 
varro. May McAvoy had the leads in "Ben 
Hur." Ramon Novarro, Alice Terry, Lewis 
Stone and George Seligmann in "Scara- 
mouche." Ramon was born in Durango, 
Mexico, Feb. 6, 1899. Buddy Rogers, 
Olathe, Kansas, Aug. 13, 1904. Vilma 
{Continued on page 124) 




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The Answer Man 

{Continued from page 122) 



Banky, Budapest, Hungary, Jan. 9, 1902. 
Ramon Novarro played the part of Rupert 
of Hentzau in "The Prisoner of Zenda." 
His latest is "The Pagan." Send me a 
self-addressed envelope for a complete list 
of Ramon's pictures. 

VICK AND MIL.— Glad to hear from 
you. Mary Philbin was born in Chicago, 
111., on July 16, 1904. She is five feet two, 
weighs 100 pounds, and has dark brown 
hair and gray eyes. June CoUyer is twenty 
years old. Real name Dorothea Heermance, 
she entered pictures in 1927. She is play- 
ing in "Red Wine," write her at the Fox 
Studios, 1401 No. Western Ave., Los 
Angeles, Cal. Dolores Costello is playing 
in "The Madonna of Avenue A," Warner 
Bros., 5842 Sunset Blvd., Hollywood, Cal. 

JUST CURIOUS.— Don't be like that. 
Baclanova was born in Moscow, Russia. 
She was educated in the Moscow Institute. 
She had ten years of brilliant success on the 
legitimate stage before she made her screen 
debut. Her latest picture is "Wolf of Wall 
Street." Your letter will reach her at the 
Paramount Studios, 5451 Marathon St., 
Hollywood, Cal. Neil Hamilton was born 
Sept. 9, 1899. Bebe Daniels is playing in 
"What a Night," Neil Hamilton plays op- 
posite her. George Bancroft was born in 
Philadelphia, Pa., Sept. 30, 1882. 

CURIOUS KATHLEEN. — Donald 
Keith was the chap who played the violin 
in ' 'The Way of All Flesh." Jobyna Ralston 
was Sylvia in "Wings." You know she's 
the wife of Richard Arlen. Richard served 
in the Royal Flying Corps in the war. His 
first Paramount picture was ' 'In the Name 
of Love." Jack Mulhall and Eugene 
O'Brien are not related. Richard Arlen is 
playing in "The Four Feathers." Write 
him at the Paramount Studios, 5451 
Marathon St., Hollywood, Cal. 

AL JOLSON FAN.— You bet Al sang and 
did the talking in "The Singing Fool." You 
may send me twenty-five cents for a photo 



of him. Your letter will reach Betty Bron- 
son at the Warner Bros. Studios, 5842 Sun- 
set Blvd., Hollywood, Cal. Helen Foster 
and Warner Baxter are playing in "Linda" 
at the Metropolitan Studios, 1040 No. Las 
Palmas, Hollywood, Cal. Under the direc- 
tion of Mrs. Wallace Reid. 

INQUISITIVE.— AUce White is not mar- 
ried. Her latest picture is ' 'Naughty Baby," 
write her at First National Studios, Bur- 
bank, Cal. Don Alvarado was born Nov. 
4, 1904, he is five feet eleven, weighs 160 
pounds, has black hair and brown eyes. 
Real name is Joe Page, sorry he's married. 
Gilbert Roland is twenty-five years old. 
Write him at the United Artists Studios, 
1041 No. Formosa Ave., Hollywood, Cal. 

LORITA.— William Bakewell is playing 
in Douglas Fairbanks' next picture, "The 
Iron Mask," your letter will reach him, 
care of the United Artists Studios, 1041 No. 
Formosa Ave., Hollywood, Cal. Yes, I can 
supply you with a photo of either Barbara 
La Marr or Al Jolson, these are sold for 
twenty-five cents each. A\rite me direct. 

A CONRAD NAGEL FAN.— Conrad 
had interviews in the following; Jan. 1926; 
Mar. 1928; Nov. 1928 Motion Picture. 
Pictures, June, 1925; Dec, 1925; May, 1926; 
Mar., 1927; May, 1927. Classic, pictures, 
Oct., 1924; Dec, 1926. His latest picture 
is "Kid Gloves," write him at the Warner 
Bros. Studios, 5842 Sunset Blvd., Holly- 
wood, Cal. 

CLAIRE. — Would suggest you write di- 
rect to Paramount Studios, 5451 Marathon 
St., Hollywood, Cal., in regard to the 
"stills" of Bebe Daniels. Bebe has had 
interviews in the following magazines: 
April, 1922; Feb., 1926; May and Oct., 1926, 
Motion Picture. Does a fish know any- 
thing about love? You bet. Pikes Peak, 
you know. Daniel Haynes and Honey 
Brown have the leads in King Vidor's all- 
colored picture, "Hallelujah." 

{Continued on page 126) 




Winning on a walk. Buster Keaton's sprinting turtle, known in sporting circles 

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get this thrilling book at our risk — without advancing a penny. 




you love, or will j'ou take 
the one you can get? 

If a husband stops loving his 
wife, or becomes infatuated with 
another woman, who is to blame 
— the husband, the wife, or the 
"other woman?" 

Will you win the girl you want, 
or will Fate select your Mate? 

Should a bride tell her husband 
what happened at seventeen? 

Will you be able to hold the 
love of the one you cherish— or "The OracJ 
willyourmarriageendin divorce? 

"Do you know how to make people like you? 

IF you can answer the above questions — 
if you know all there is to know about 
winning a woman's heart or holding a 
man's affections — you don't need "The 
Philosophy of Love." But if you are in 
doubt — if you don't know just how to 
handle your husband, or satisfy your wife, 
or win the devotion of the one you care 
for — then you must get this wonderful 
book. You can't afford to take chances 
with your happiness. 

What Do YOU Know 
About Love? 

Do you know how to win the one you 
love? Do you know why husbands, 
with devoted, virtuous wives, often be- 
come secret slaves to creatures of another 
"world" — and how to prevent it? Why do 
some men antagonize women, finding them- 
selves beating against a stone wall in affairs 
of love? When is it dangerous to disregard 
convention? Do you know how to curb a 



What Every Man and 
Woman Should Know 



-how to win the girl you 
-how to hold your hus- 

-how to make people 

admire you. 
-why men "step out" 

and leave their wives 



o make marrla 
rpetual hone 

"danger year" 



-how to rekindle It it 

--bow to cope with the 
"hunting instinct" in 



desirability it 

—how to tell If 
really loves y< 



married life. 



headstrong man, or are you the 
victim of men's whims? Do you 
know how to retain a man's 
affection always? How to attract 
men? How to make love keep 
you youthful and fresh? Do you 
know the things that most irri- 
tate a man? Or disgust a woman? 
Can you tell when a man really 
loves you — or must you take 
his word for it? Do you know 
what you MUST NOT DO un- 
less you want to be a "wall 
GLYN flower" or an "old maid"? Do 

of Love" you know the Uttle things that 
make women like you? Why do 
"wonderful lovers" often become thought- 
less husbands soon after marriage — and 
how can the wife prevent it? Do you know 
how to make marriage a perpetual 
honeymoon? 

In "The Philosophy of Love," — Elinor 
Glyn answers these precious questions — 
and countless others. She places a magni- 
fying glass unflinchingly on the most in- 
timate relations of men and women. No 
detail, no matter how delicate or avoided 
by others, is spared. She warns you gravely, 
she suggests wisely, she explains fully. 

We admit that the book is decidedly dar- 
ing. It had to be. A book of this type, to be 
of great value, could not mince words. But 
while Madame Glyn calls a spade a spade 
— while she deals with strong emotions and 
passions in her frank, fearless manner — she 
nevertheless handles her subject so ten- 
derly and sacredly that the book can safely 
be read by any grown-up man or woman. 
In fact, anyone over eighteen should be 
compelled to read "The Philosophy of 
Love"; for, while ignorance may some- 
times be bliss, it is folly of the rankest sort 
to be ignorant of the problems of love and 
marriage. As one mother wrote us: "I wish 
I had read this book when I was a young 
girl — it would have saved me a lot of 
iniser>' and suffering." 

Certain self-appointed censors may con- 
demn "The Philosophy of Love." Anything 
of such an unusual character generally is. 
But Madame Glyn is content to rest her 
world wide reputation on this book — the 
greatest masterpiece of love ever attempted! 

SEND NO MONEY 

You need not advance a single penny 
for "The Philosophy of Love." Simply 
fill out the coupon below — or write a letter 
— and the book will be sent to you on ap- 
proval. When the postman delivers the 
book to your door — when it is actually in 
your hands — pay him only 81.98, plus a 
"few pennies postage, and the book is yours. 
Go over it to your heart's content — read 




WARNINQ/ 

The publishers do not care to send 
"The Philosophy of Love" to anyone 
under eighteen years of age. So unless, 
you are over eighteen, please do not 
fill out the coupon below. 



it from cover to cover — and if you are not 
more than pleased, simply send the book 
back in good condition within five days 
and your money will be refunded instantly. 

Over 75,000,000 people have read Elinor 
Glyn's stories or have seen them in the 
movies. Her books sell like magic. "The 
Philosophy of Love" is the supreme culmi- 
nation of her brilhant career. It is destined 
to sell in huge quantities. Everj'body will 
talk about it everywhere. So it will be ex- 
ceedingly difficult to keep the book in print. 
It is possible that the present edition may 
be exhausted, and you may be compelled 
to wait for your copy, unless you mail the 
coupon below AT ONCE. We do not say 
this to hurry you — it is the truth. 

Get your pencil — ^fill out the coupon NOW. 
Mail it to The Franklin Publishing Co., 
800 N. Clark St., Chicago, Illinois, before 
it is too late. Then be prepared for the 
greatest thrill of your Ufe! 



jnklin Publishing Co. 
» N. Clark St.. Dept. 9200. Chicago. HI. 
I Please send loe on approval Elinor Glyn's mi 
piece. "The Philosophy of Love." When the 
. man delivers the book tr — -" — ' -'" -^ 
I only S1.H8. plus a few ne 
stood, however, that this 
I purchase. If the book d 
• UP to expectations, I rei 
time within five dt 



;3 postage. 



I you agree to refund my money. 



I IMPORTANT— If you reside outside the U. S. A.. 



Advice to the 

Love - Life - Lorn 



Since the beginning of the Love-Life Story Series 
in Motion Picture we have received innumer- 
able protests from readers about the difficulties of 
obtaining copies of the magazine 

It seems the newsdealer is sold out almost before 
he has time to get behind his counter on the 
morning of the 28th of the month 

Motion Picture has been petitioned, indeed, to 
have Congress enact a law forbidding the begin- 
ning of sales of the magazine before 6 o'clock in 
the morning, so that the average alert reader can 
have a fighting chance to get a copy 

This Motion Picture has been loath to do. The 
granting of its request, of course, would come 
quite as a matter of form. But it feels that the 
responsibility rests with the reader rather than 
with the dealer. The merchant of magazines has 
to observe the policy of first come, first served. 
He cannot discriminate 

But he can do this: he can reserve a copy for you. 
And he will. Tell him before the 28th that you 
want a Motion Picture held for you on the 28th. 
And he'll have it. And you'll have it 

It's the one way to insure your getting the next 
— the March — issue, in which there's another 
sensational Love-Life Story and a host of other 
features of equal interest 



Motion Picture 

ICs the Magazine of Authority 



The Answer Man 

(Continued from page 124) 

ANNE \yHITE.— How's Baltimore these 
days? Billie Dove was born in New York 
City, May 14, 1903. She is five feet five, 
weighs 120 pounds, has brown hair and eyes. 
She is married to Irvin Willat, the director. 
Write Billie at the First National Studios, 
Burbank, Cal. Mary Pickford was born in 
Toronto, Canada; her real name is Gladys 
Smith. Marion Davies, New York City, 
Jan. 3, 1900. She is five feet five, weighs 
120 pounds, blonde hair and blue eyes. 

?ANDY.— Monte Blue and Rod La 
Rocque are not related, although they re- 
semble 'one another. Adrienne Le Couvreur 
is the girl's name in the picture, "Dream of 
Love," the title was changed to the latter. 
Joan Crawford and Nils Asther have the 
leads in this picture. Bessie Love is playing 
in "Broadway Melody." Esther Ralston, 
"The Case of Lena Smith," Anita Page, 
"Broadway Melody," Anita was born in 
Long Island, she is eighteen years old, five feet 
two, weighs 118 pounds, has blue-gray eyes, 
and blonde hair. Write her at I\Ietro- 
Goldwyn Studios, Culver City, Cal. 

DOUGLAS SHIGEO.— Douglas Fair- 
banks, Jr., was born in New York City; he 
is about twenty-two years old, five feet ten, 
weighs 145 pounds, and has blonde hair and 
blue eyes. No man is ever too busy to hear 
you tell him what a wonder he is. "Lights of 
New York" was the first Warner all-talkie, 
and their latest one is ' 'On Trial." Pauhne' 
Frederick has the lead. 

A DOVE AND DIX FAN.— Thanks for 
the compliment about_ Motion Picture. 
Billie Dove was born in New York City, 
May 14, 1903, five feet five, weighs 120 
pounds, has brown hair and brown e^'es, is 
married to Irving Willat, the director. 
Send me 25c for her photo. Richard Dix was 
born July 18, 1894, is six feet tall. Marion 
Davies, Jan. 3, 1900, she is five feet five. 
Joan Crawford, March 23, 1906, five feet four. 
Sue Carol, Oct. 30, 1907, five feet five. Jean 
Arthur plays opposite Emil Jannings in 
"Sins of the Fathers." 

GEORGE H.— You may write William 
Bakewell at the United Artists Studios, 1041 
N. Formosa Ave., Hollywood, Cal. Robert 
Agnew, Warner Bros. Studios, 5842 Sunset 
Blvd., Hollywood, Cal. Mary Astor's 
latest picture is "New Year's Eve," Fox 
Studios, 1401 No. Western Ave., Los 
Angeles, Cal. Betty Compson has an im- 
portant role in "Weary River," starring 
Richard Barthelmess. Creighton Hale in 
' 'Seven Footprints to Satan," First National 
Studios, Burbank, Cal. 

BUDGAR. — Renee Adoree is married to 
William Sherman Gill. Barry Norton was 
born in Buenos Aires, Argentine, his mother 
is French and his father is Argentine, his 
real name is Alfredo de Biraben; he came to 
New York a little over four years ago, left 
for Hollywood, where he started out as an 
"extra." Irving Cummings saw him on the 
Fox lot and gave him a special screen test. 
He first won the public's attention as the 
"Mother's Boy" in "What Price Glory." 

BUTTERFLY.— Helene Chadwick was 
Joan, Antonio Moreno was Cleve, Gibson 
Gowland was Gulden, Rockchffe Fellows, 
Kelts, in "The Border Legion." Yes "But- 
terfly" was filmed, and Laura La Plante, 
Ruth Clifford, Kenneth Harlan and Nor- 
man Kerry had the leads. This was filmed 
in August, 1924. 

JUST RENA.— You refer to Conrad. 
Nagel, who played in "Three Weeks," 
{Contintied on page 128) 



126 



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127 



Ohe Thinks Too Much 

Such Women Are 
Dangerous. . . . 

No doubt had Shakespeare been born into this, the 
Hollywood era, he would have amended his lines to 
read: 

"Yon Pringle hath Aileen and hungry look; 

She thinks too much. Such women are dangerous." 

For Aileen Pringle does think too much — far too 
much for the ease of mind of most men ; and certainly 
quite as far too much for the ease of heart of most 
women. 

She is one of the distinctive figures on the screen to- 
day and, as well, one of the distinctive figures among 
the women of America. 

An actress of ability. A beauty. A wit. A strategist 
in affairs of the heart. 

Chosen by Elinor Glyn to portray the unquenchable 
queen in "Three Weeks." Sought out by many of 
America's foremost literary lights: Mencken, Herges- 
heimer and other verbal heavyweights. 

To say she is remarkable is saying only part of it. 

Likewise to say that of the article she has contrib- 
uted in the next, the February, issue of Classic. 
The Confessions of Aileen Pringle by Gladys Hall 

And they're confessions, the facts she lets be known 
in this story. What Miss Pringle says is the truth. 
How and why she happened to become an actress. How 
and why she got married. And why she will not re- 
marry. And why she will not, for all their lives lie 
apart, consider divorce from her husband. A few in- 
stances of her tactics in love. An estimate of herself — 
and not an insincere estimate. 

Don't miss this article. Find out some of the things 
that go on and that have been going on in the mind 
of the stately and brilliant person whom other women 
regard as the most dangerous of their number in Holly- 
wood. 

The February Classic will appear January 10 on 
every newsstand. Be there yourself — and early — to 
get your copy of next month's 

Motion Picture Classic 

Ifs the Magazine 
With the Personality 



iiiiiiiiiiiiiii 



iilllllllllllililiill 



The Answer Man 

(Continued from page 126) 

Janet Gaynor is five feet tall. Janet is not 
engaged to Charles Farrell. Write them 
both at Fox Studios, 1401 No. Western Ave., 
Los Angeles, Cal. Olive Borden and 
George O'Brien are not engaged. Vi'rite 
George O'Brien also at the Fox Studios. 

WANTA NO.— The six aviators that 
played in "Lilac Time" were: Dick Grace, 
Stuart Knox. Harlan Hilton, Richard 
Jarvis, Jack Ponder, and Dan Dowling. 
You refer to Kathryn McGuire, who was 
Iris in this picture. Yes, Cleve Moore who 
was Major Russell is really Colleen Moore]s 
brother. Buddy Rogers is not engaged. His 
latest picture is ' 'Someone to Love." You 
may write to me any time you wish, always 
glad to hear from you. 

DICK. — You refer to Kenneth Thomson 
who played with Vera Reynolds in "Almost 
Human." Mary Brian is not married, her 
real name is Louise Dantzler. She is play- 
ing in "Someone to Love," Richard Dix in 
"Redskin," write to him at the Paramount 
Famous Studios, 5451 Marathon St., Holly- 
wood, Cal. He will be glad to hear from 
you. 

MISS EMILY AYERS.— In regard to 
"The Patsy," I would suggest you write 
the Metro-Goldwyn Studios, Culver City, 
Cal. Milton Sills's picture "Stranded in 
Paradise" was changed to "His Captive 
Woman." Renee Adoree will play opposite 
Ramon Novarro in ' 'The Pagein." 

PATCE.— You can write Shirley Mason 
at Columbia Studios, 1408 Gower St., Hol- 
lywood, Cal., where she is playing in 
"Runaway Girls." Madge Bellamy is not 
married; her latest picture is "Exiles, " Don 
Terry is her leading man. Billie Dove's real 
name is Lillian Bohny, her latest picture is 
"Adoration." Your letter will reach her at 
First National Studios, Burbank, Cal. 



DI. — ^The man who says, "I run things 
in my house," usually refers to the lawn 
mower, washing machine, vacuum sweeper, 
baby carriage, or the errand. I believe you 
refer to Francis MacDonald, who played in 
"The Legion of the Condemned." Buddy 
Rogers is playing in "Someone to Love.' 
Nils Asther was born Jan. 17, 1901, not 
married, playing in "The Wolf Song," 
Paramount Famous Studios, 5451 Marathon 
St., Hollywood, Cal. You refer to Leila 
Hyams, who plays in "Alias Jimmy Valen- 
tine." 

C. K. — Clara Bow was born Aug. 8, 1905, 
Billie Dove, May 14, 1903, Charles Rogers, 
Aug. 13, 1904, Bebe Daniels, Jan. 14, 1901, 
Billie Dove receives her fan mail at the 
First National Studios, Burbank, Cal. 
Clara, Charles and Bebe at the Paramount 
Famous Studios, 5451 Marathon St., Holly- 
wood, Cal. Lowell Sherman is playing in 
"The Last of Mrs.Cheyney," starring Norma 
Shearer and Conrad Nagel. 

B. D. — Barry Norton hails from Buenos 
Aires. He is five feet eleven, weighs 145 
pounds, has black hair and brown eyes. 
Real name Aldredo de Biraben. His latest 
picture is "Sins of the Father." Send your 
letter to the Fox Studios, 1401 N. Western 
Ave., Los Angeles. Cal. Nils Asther was 
the son, in "Sorrell and Son." Write him 
at the Metro-Goldwyn-Mayer Studios, 
Culver City, Cal. He is playing in "Dream 
of Love." Most of the players have 
secretaries. 



, . . The Book That Zealous Retormers Once Burned in Public! 




yitLast! 

Censorship No Longer Denies Ibu 
This Thrill of Thrills- 

TalesfromT^^ GREAT DECAMERON... 



YOU'LL never know life until you've 
read this greatest of all forbidden 
books! You'll never know how utterly 
stark and vivid a picture of human passions 
can be painted in words until you've feasted 
on the most fascinating tales from the great- 
est of all true-to-life books — 
the immortal Decameron by 
Boccaccio! 

Between its pages, the 
thrill of a lifetime of reading 
awaits you. Before your 
very eyes is unfolded the 
glittering pageantry of a 
golden age now vanished — 
an age when passion, intrigue 
and high-riding romance held 
full sway. Past you, in a 
breath-taking parade, sweep 
some of the most beautiful, 
yet unprincipled, women of 
all time — women whose in- 
tense fascination fired men's 
blood and even altered the 
fates of empires . . . Here 
you will find tales of scarlet 
days, when a robust world 
drank of life and love to its 
very dregs! 

Few writers have ever 
dared to write so intimately 
of the frailties to which the 
flesh is heir. But the flam- 
ing pen of Giovanni Boccaccio knew no 
restraint. Sophisticated and fearless to the 
ultimate degree, his stories are not only 
brilliant fiction of the most gripping variety 
— but also the most illuminating record of 
life in fourteenth-century Italy ever penned. 
Hardly a detail of these stirring times es- 
caped his ever-watchful eye — and what he 
saw, he wrote, without hesitation nor fear! 



READ 

— how a certain noble 
lady slipped into her 
husband's chamber 
by stealth, and 
changed places with 
his mistress in order 
to win back his love! 
— how a tiny mole on 

demned her to death 
and wrecked three 
lives! 

humiliated beyond all 
toleration in her own 
bed-chamber by a 

ran fire instead of 
blood!" 



Mystery No Longer Shrouds 
This Brilliant Masterpiece! 

Perhaps no other book ever written has 
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so vigorous a style as to be actually star- 
tling, it has long been a 
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haute-monde have ac- 
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praise for its sparkling vivid- 
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while prudish zealots and 
tyrannical reformers, aghast 
at the utter frankness with 
which Boccaccio exposed 
human life and love in the 
raw, resorted to every pos- 
sible means to keep this mas- 
terpiece from general cir- 
culation. At one time they 
actually went so far as to 
gather all the available copies 
and have them publicly 
burned! 

But all that was yesterday. 
To-day the thrill that awaits 
the reader within the glowing 
pages of Decameron Tales is 
no longer denied you. This 
is the age of reason — and the 
peerless word-artistry of genial old Boccaccio 
has come into its own at last! . . Now, for 
a short time only, you can inspect these 
great examples of realistic writing in your 
own home for five days, without obligation! 

A Literary Treasure-House 

1 fascinating plot 



Cameron has furnished plots for the world's 
great masters of literature. Longfellow, 
Keats, Dryden, Chaucer, and even the 
great Shakespeare himself sought these im- 
mortal pages for inspiration. In no other 
volume are the morals and customs of Italy 
of the fourteenth century so graphically 
laid before you — the way people lived, the 
hovels and palaces they dwelt in, the fan- 
tastic pleasures they indulged in — all are 
told with both wit and pathos that are 
indescribable. Thus the stories not only 
amuse and entertain, but constitute a land- 
mark of literature which must not be passed 
over if you would broaden your vision — 
make yourself truly cultured. 

SEND NO MONEY 



only $1.98! Send no money— just fill o 
the coupon below. When the package arri' 
the postman $1.98, plus few cents postage. 
■ i great book for five days, then if you 



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offer is withdrav 
800 No. Clark S 



Franklin Publ 



I Franklin Publishing Co., | 

I 800 No. Clark St., Dept. B-I80, Chicago. . 

' Please send me a copy of The Tales from ' 

I the immortal Decameron by Boccaccio. When | 



I plus few cents 

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any mc 
^ Hear ^y?^ See what happened to the ghl 
who boasted she could get her man/ 



Actually filmed and recorded on \\ 
location In Old Arizona repre- 
sents a distinct forward step in the 
art of the talking picture. For the 
first time, WILLIAM FOX brings to 
the screen not only the realistic set- 
tings but also the natural sounds of 
the great outdoors! The voices you hear 
are voices as they really sound out in the 
open! Until you've seen and heard In 
Old Arizona you can't appreciate to what 
heights the technique of the talking 
motion picture has been advanced by Fox 
Movietone! Keep abreast of developments 
in this newest field of expression — make up 
your mind to see In Old Arizona when it 
comes to your favorite local theater. 





Every part is a speaking part — 
featured in the leading roles are 
two brilliant screen stars and a fas- 
cinating stage favorite — Edmund 
Lowe as Sgt. Dunn, the heartbreak- 
ing cavalryman; Warner Baxter as 
the Cisco Kid, outlawed Don Juan of 
the desert; and, in her first screen appear- 
ance, Dorothy Burgess as Tonia, the fiery, 
fickle, light-o-love who pays the price of 
infidelity in one of the most startling 
denouements ever filmed! In the support- 
ing roles are nearly a score of well-known 
players of the stage and screen. With such a 
cast under the masterful direction of Raoul 
Walsh and Irving Cummings it is no wonder 
audiences everywhere have acclaimed In Old 
Arizona as one of the great pictures of the yearl 



r 



MOVIETONE 
X 




,x^ 




Back-Stage Secrets ^ 




By Edna Wa 


llace Hopper 


(L//PPEARING .ever. 


1 times daily on the 


theatrical stage taxe 


s the .kin to the utmost. 


The make-up meant fo 


r footlights is not the 


gently compounded ran 


ge of tint, used in the 


boudoir. Between acts 


make-up must be re- 


moved ... in the most pr 


otective, delicate manner 


possible. And, in my ca 


se, quickly— because my 






fact, my forty-odd years 


on the stage have taught 


me split-second efficienc 


Y in caring for my body. 



You can follow my 
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I urge you to mail t: 
Lake Shore Drive, CI 

beauty aids to prove 

of Quindent toothpaste. 

NAME.... 

STREET. . 



Washing the Face . . .Your most 
important beauty treatment 



OLIVE OIL, in t^is facta/ soap, 
removes dirt and make-up an 
utterly different way. And this, 
beauty specialists agree, is the 
most important step in combat- 
ing sallow, oily skin and blemishes. 



MANY of the dangers that threaten 
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By clogging the pores! By imprisoning 
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The effect of olive oil on the skin 

Modern beauty science has an answer to 
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color, bringing out radiant freshness. , 

Start this treatment now 

To discover your own possibilities of 
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treatment thousands of women find most 
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unfailing way to enduring loveliness: 



At night: make a rich lather of Palmolive Soap and 
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motion, to stimulate circulation. Rinse thoroughly 
with warm water graduated to cold until you actually 
feel all impurities, oil, secretions and make-up carried 
away. Then dry the skin tenderly with a soft towel 





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Retail Prii 




In the morning: repeat tli 
of finishing cream before putting on rouge and powder. 
That's all!, A simple treatment, but it must be ob- 
served twice every day to keep the skin lovelv and 
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today Colgate-Palmolive-Peet Co., Chicago, Illinois. 



PALMOLIVE RADIO HOUR-Broadcast every Wednesday night-from 
9:30 to 10:30 p.m., eastern time; 8:30 to 9:30 p. m., central time-over 
WEAF and 32 stations associated with The National Broadcasting Company. 



KEEP THAT SCHOOLGIRL COMPLEXION 




tionPichne 



MARCH 



25 Cents 




-Innocent 



Virginia 

Bradfordi 

loye-UJc 



t %standcr ^^c 

H oove r On Ce n sorship 




Z)<9 this Svery Night 
To safeguard skin from dirt and make-up 

Unless the pores are thoroughly cleansed every day 
in this way, blackheads, pimples, sallowness result 



How olive oil, in this facial 

soap, goes beneath the surface 

to reveal natural beauty 



)DAY, more than ever before, there is vital 
leaning in the phrase "washing for beauty. " 
let you may be one of those who overlook its 
rtance.The layers of rouge and powder which you 
kely to apply during the course of a day; the 
ind dirt, oil secretions, dead skin that find their 
ito the pores are simply an invitation to black- 
, pimples, dreaded blemishes! 
haps you, yourself, go on from day to day 
igapricelessly lovely complexion. Changes come 
duallythat you scarcely notice them. Then— sud- 
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replacing your naturally youthful skin. The only 
CO combat these evils is to wash the face, in 
/ay, with a soap containing olive oil. 

Olive oil and your skin 
is what olive oil does, when you follow the 
as Palmolive aeatment given below : it soothes 
itimulates, it cleans as it beautifies. Gently, the 
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Uions use Palmolive for the bath as well, because 
o inexpensive. To discover your own 
.5ilities of beauty, you should begin 
treatments tonight! 





At night— Mike a rich lather of Palmolive Soap and 
warm water. With both hands, apply it to face and throat, 
massaging gently in an upward and outward morion, 
to stimulate circulation. Rinse thoroughly with warm 
water graduated to cold until you actually feel all im- 
purities, oil secretions and make-up carried away. Then 
dry the skin tenderly with a soft towel. 



In the morii/ng —Repeat this treatment and add a touch 
of finishing cream before putting on rouge and powder. 
That's all! A simple treatment, but it must be observed 
twice every day to keep the skin lovely and youthful. At 
10c Palmolive is the world's least expensive beauty for- 
mula. Buy a bar, begin using it today. Colgate-Palmolive- 
Peet Co., Chicago, Illinois. 



PALMOLIVE RADIO HOUR - Broadcast every Wednesday n.ght-from 9;30 to 10:30 p. m., eastern time; 
8:30 to 9:30 p. m., central time-over WEAF and 32 stations associated with The National Broadcasting Company 



KEEP THAT SCHOOLGIRL COMPLEXION 





IMOW VOU CAN Uf-AI^ 
^TIMES EVERY WEEK 



NOW Fox IMovietone 
News, pioneer 
talking newsreel, 
brings you the sights 
and sounds of the 
entire world in four 
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If it isn't FOX, it isn't 
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If it isn't Fox, it isn't 
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If it isn't Fox, it isn't 
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Jj|[ <l Issuer [very Week 




O///^ Paramount can 
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II 



^n/* 



JUST as millions of motion pic- 
ture fans know that Paramount 
was responsible for the great 
advances made in the ** silent" 
drama, so do they now know that 
in the new field of talking pictures 
only Paramount can surpass 
Paramount ! Following " Inter- 
ference," the first QUALITY All- 
Talking Picture, came even greater 
Paramount Talking Pictures such 
as "The Doctor's Secret", "The 
Wolf of Wall Street." C. Now 
another great all-talking picture 
places Paramount supremacy 
farther beyond reach than ever! 



uanne 



JLaqeb 



THE 



luter 



The famous star of "Rain" in an all- 
l talking motion picture version of W. 
' Somerset Maugham' s stage success, "The 
Letter". Supported by O. P. Heggie and 
Reginald Owen. Directed by Jean de 
Limur. Adapted by Garrett Fort. Super- 
vised by Monta Bell. The Paramount 
All-Talking Show consists of "The 
Letter", Eddie Peabody, and The 
Giersdorf Sisters. 



^y^ 



"The Letter" is also presented in a "silent" version so if the theatre you patron- 
ize is not equipped for sound, you can still enjoy this great Paramount Picture. 
Silent or with Sound "If it^s a Paramount Picture it's the best show in town! " 

xrarantoimt^9icture^ 

PARAMOUNT FAMOUS LASKY CORPORATION, ADOLPH ZUKQR, PRES., PARAMOUNT BLDG., N. Y. 



II 



^Z\'s 1'^^"^ 










Volume XXXVII, No. 2 



v.\.\^-» 



March, 1929 



Features in This Issue 



Dorothy Donncll 31 
. ..Ceclric Bdfragc 3.5 
.Dorothy Donncll 34 



Cover Portrait of Lina Basquette by Marland Stone, especially created by Russell Ball 

Mr. Hoover Censures Censorship Wilbur Morse, Jr. 28 

II ii I'as: riV;;j <jh,/ Present Conduct Shoji' Him itt Favor of the Freedom of the Screen 

Jaime Del Rio: Innocent Bystander 

He Died Xoi of what the Doctors Said 

Home, Swede Home 

The Back-Slapping of Ilcarly Hollywood Gives Nils Aslher Acute Nostalgia 

Don't Give It All to Broadway 

Lei the Present Screen Players Have Some of the Opportunity in the Talkies 

Jane Comes Clean Herbert Cruikshank 40 

Miss WiiUon Reveals Not Only Where Site Came From but Where She WaiUs to Go 

Plugging for Fatty Ruth Biery 42 

Everybody Who's Anybody in Pictures Has Helped Roscoe Arbuckle Put the Planlation on the Map 

The Love-Life Story of Virginia Bradford Ruth Biery 44 

.1/ Tweniy-lhree She Feels She Has Had All the Experience a Woman Can Have 

Her Regrets to Royalty Helen Louise Walker 48 

Among Other Things, Lili Damita Might Have Been Crown Princess of Germany 

Duty Unadorned Gladys Hall 50 



Trapped, Estelle Taylor is Forced to Name Her Favorite A nimal Cracker 



.Helen Louise Walker 52 



Hollywood Wetiquette 

The Importance of Being Mammied; How to Treat Guests, Invited and Otherwise 

For Crv'ing Out Loud Cedric Belfrage 55 

lloir the Grim Wccpirs of the Screen Keep Emotionally Fit 

Dorothy Manners 59 



. . .Walter Ramsey 64 
. .Dorothy Donnell 68 
. Dorothy Manners 74 



Modernized Menaces 

To Be Sealed in a Submarine is Too Old-Fashioned for Gladys McConnell 

A Little Lauder — And Funnier 

Of the Screen, Eddie Quillan Displays About as Much Humor as a Scotch Joke 

Shopping With Lilyan Tashman Marie Cc 

Second of a Series: Revealing This Time the Practical Secrets of a Slar's Dinner Party 

Colin J. Cruickshank, Art Director Dorothy Do.\m£ll Calhoun, Wesl^ 

J Picture is published monthly at 731 Plymouth Court Chtcat,o III hv Motion Pict> ui Pihtk sttons 



.,^, ( Building, IS 

LfcATiONS, Inc. Single copy 23c 

Foreign Countries $3.30. Europ 

Kent Shuler, Pres. ai 



' Uigusl 3'st 1028 at the Po-it Office 
a cta^s mailer at N, \ ork A } 1 
I Broad 11% \V ) nrk City N 1 Co, 



I. 



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04)00 

LOCATION, aATES 
AND SE-RVICE 

iFonntST 

HOTEL 

?~ STIiEE-T 

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The outfit consists of a seamless water bap and a 

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grade talcum powder. 



sanitary belt; and a can of high 



Don't Send 1 Penny Sl'^ss'^Jndwe^mS.I 

the outfit to you. When the postman delivers it, pay 
him »».98. We pay all delivery charges. If you can 
buy these articles for less than $3.60 elsewhere, return 
them at our expense, and we will refund your money. 
Only one set to a customer. Order No. 62. 
WAITER FIELD ^ CO. Dept. N ^930 CHICAGO. ILL. 



GIVEN TO CIRIS 




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)£f. Write for free Booklet 
WM. DAVIS, M. D., 124-E Gio?e Ave., Woodbridge, N. J 



MOVIE STARS 



Your choice ol 



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FIFTEEN-DOLLAR LETTER 

Well-Deserved Praise 

LINCOLN, NEBRASKA— I often won- 
der if many people ever realize the number 
of valuable things they owe to motion pic- 
tures. I have an academic education, and 
have no desire to cast any aspersions on our 
excellent colleges and universities, yet I 
have received a more liberal and varied 
education from motion pictures than I ever 
acquired in a classroom. 

Never having been able to shake off the 
shackles of a circumspect and circumscribed 
existence in a hidebound and provincial 
Mid-Western state, yet have I been per- 
mitted to visit the four corners of the earth, 
through the movies. Plays of the first class 
and stars of the first magnitude seldom 
make this city, yet have I seen the most 
superb drama and supreme portrayal of 
character, in the movies. I have seen the 
soul-searing passion of "Flesh and the 
Devil"; the magnificence of sacrifice for 
one's country in "The Big Parade" and 
"Wings"; the wonder of brotherly love 
that transcends even death in "Beau 
Geste"; the exquisite and pathetic revela- 
tion of the mad king czar, Paul, in "The Pa- 
triot"; have felt the full significance of 
true love as shown in "Seventh Heaven"; — 
and I have heard Al Jolson's inimitable 
voice in "The Singing Fool" — what higher 
transcriptions of human emotions are there 
on which to feed my soul? 

There are those who derive a particular 
pleasure from destructive criticism. I do 
not. I am too grateful for the beauties I 
have witnessed and the satisfaction that 
remains with me for cynical comments and 
scathing remarks. Better movies will be 
made; are in process of evolution even now. 
But only a cad would sneer at the tone of 
one's "Whoa," 
when he is striv- 
ing to harness 
Pegasus. 

Opal L. Paap. 



words just what it has meant to me. . . . 
I am a sort of semi-invalid and much 
of my time is spent in bed, here in a gloomy 
little room with no sunshine, no beauty, no 
flowers to cheer long, painful days, so here 
your magazine comes like a veritable Fairy 
book filled with beauty, happiness, success; 
a book of dreams-come-true; I devour it, I 
say of some actress: "She is the one that 
once I meant to be." Once I dreamed of 
having a youth like that, filled with danc- 
ing, playing, sunshine; I am still young, 
though sometimes the heart grows weary; 
as I read deeper about her life I learn that 
years of discouragement preceded her 
attainment, then hope whispers to me to 
keep faith that some day, I, too, shall find 
my bluebird of happiness and health. From 
my tiny window I glimpse a patch of blue, 
I smile . . . yes, "She is the one that still 
I mean to be." Dreams do come true! 
Thanks for showing us, reminding us. . . . 
Christie Lund. 



TEN- 
DOLLAR 
LETTER 

The Movies 

Help in 
Many Ways 

SALT LAKE 
CITY, UTAH 
— I think you 
should receive a 
little well- 
earned praise 
for your splen- 
did magazine. 
It is difificult for 
me to express in 



FIVE-DOLLAR LETTER 

Let^s Censor the Audience 

SPOKANE, WASH.— People are crying 
their^yes out, because "CRIME" is being 
put before their children, in the MOVIES, 
but why do they allow their children to go 
to every show, regardless, not knowing 
what it may involve. 

Thanks to our movie people, we are pro- 
vided with pictures that are especially 
adapted to the entertainment of children, 
and it seems a shame that something can't 
be done to regulate them, like having an in- 
spector in each city, to limit the age that is 
admitted. Because we need the shows of 
worldliness and crime to bring us face to face 
with facts, and the realization that we 
know very little 
of the world we 



Prizes for Best Letters 

Each month Motion Pictube will 
award cash prizes for the three best 
letters published. Fifteen dollars will 
be paid for the best letter, ten dollars 
for the second best, and five dollars 
for the third. If more than one letter is 
considered of equal merit, the full amount 
of the prize will go to each writer. 

So, if you've been entertaining any 
ideas about the movies and the stars, con- 
fine yourself to about 200 words or less, 
and let's know what's on your mind. 
Anonymous communications will not be 
considered and no letters will be re- 
turned. Sign your full name and ad- 
dress. We will use initials if requested. 
Address: Laurence Reid, Editor, Motion 
Picture, Paramount Building, 1501 Broad- 
way, New York City. 



liv 

It makes me 
shudder when I 
realize, we can't 
have Norma 
Talmadge for- 
ever, and for 
days after I saw 
" Camille," 
I couldn't be- 
lieve that I 
would see her 
again, the beau- 
tiful, inspiring 
active ideal of 

that she is. How 
I love her, and 
though I appre- 
ciate the new 
stars and their 
struggle to 
(Continued on 
page 114) 




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ester 

Mild enou^ for anybody 




What a cigarette 
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It took a lot of 

courage, for he was no "ladies' man," 
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That awkward, stammering proposal . . . 
interrupted . . . And now . . .would she never 
come back? The zero hour, for a fact . . . 
the longest minutes of a lifetime. 

Like most men, he lived through it, sus- 
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What a cigarette 
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By MARION MARTONE 

^doj6e, Renee— playing inJThe Pagan— Metro- Red Sword — FBO Studios, 780 Gower St., Hollywood, 

-__ ,—,--„ , yer, June — recently completed Red Wine — 

^_Corp.,_ 1408 Gower St._, Hollywood, Cal. Fox Studios, 1401 No. Western Ave., Hollywood, 

Colman, Ronald — playing in Bulldog Drummond 



Armstrong, Robert — playing in Leaihernecks 
— Pathe Studios, Culver City, Cal. 

Arthur, George K.— recently completed All At 
5eo— Metro-Goldwyn-Mayer Studios, Culver City, 
Cal. 

Arthur, Jean — recently completed The Canary 
Murder Case — Paramount Studios, 5451 Marathon 
St., Hollywood, Cal. 

Aster, Mary — playing in New Year's Eve — Fox 



Goldwyn-Mayer Studios, Culver City, Cal. 



^ Olga— playing in T/ze Wof 



Bancroft, George— playing in The Wolf 0/ Wall 
5/(-fc/— Paramount Studios, S45i Maratlion St., 
Hollywood, Cal. 

Banky, Vilma— playing in Childs-Fiflh Avenue- 
Samuel Goldwyn Productions, 7212 Santa Monica 



of the Moi 

N Formosa 

Barrymoi 

U\s/ - ' 

Cuh 



-recentlv completed The King 
lited Artists Studios, 1041 

__.. :1 — recently completed The 
Island — Metro-Goldwyn-Mayer Studios, 



Barthelmess, Richard— playing in Weary River 
— Firbt National Studios, Burbank, Cal. 

Basquette, Lina — playing in The Younger Gen- 
cra/Zon- Columbia Pictures Corp., 1408 Gower St., 
Hollvwood, Cal. 

Beery, Wallace — recently completed Tang War — 
Paramount Studios, 5451 Marathon St., Hollywood, 

'fs— Fox Stu- 



Bellamy, Madge — playing ir 
iios, 1401 No. Western Ave.. H( 
Bennett, Belle — pla\ 



), 4516 Sunset Blvd., Hoi 



42 Sunset Blvd., Hollywood, 
—playing in She Goes To War 



n The Desert .Sok^- Warner 
>s. Studios, 5842 bunset Blvd., Hollywood, Cal. 
$ow, Clara— playing in The Wild Party — Para- 
it Studios, S4SI Marathon St.. Hollywood, Cal. 



Boyd, William- play 

"^ •■ 5, Culv ''•■ ^ 



a Lealh, 
y completed Inlerfen 



—Path 



Beery, Noah — playing i 



Carroll, Nancy — playing i 
Studios, 1401 N. Western Ave., Hollywood, Cal. 
Chaney, Lon— playing in West of^Zanz"^- 



— Samuel Goldwyn Productions, 7212 Santa Monica 
Blvd., Hollywood, Cal. 
Compson, Betty — playing in Weary River— First 



)unt Studios, 5451 Marathon St., Hollywood, Cal. 



, 5842 Sunset Blvd., Holly- 



Warner 1 
wood, Cal. 

Crawford, Joan — playing in The Duke Steps Out— 
Metro-Goldwyn-Mayer Studios, Culver City, Cal. 



D 



imita, Lili — recentlv completed The Rescue — 
Samuel Goldwvn Productions— 7212 Santa Mon- 
ica Blvd., Hollywood, Cal. 

Dane, Karl— playing in The Duke Steps Out— 
Metro-Goldwyn-Mayer Studios, Culver City, Cal. 



Davies, Marion — playing in The Five O'clock Girl 



a Ave., Hollywood, 

benny, Reginald— playing in His Lucky Day— 
Universal Studios, Universal City, Cal. 

Dix, Richard— recently completed Redskin— Vars.- 
mount Studios, S4Si Marathon St., Hollywood, Cal. 

Dove, Billie— playing in The Man and the Moment 
—First National Studios, Burbank, Cal. 

., Mary — playing in Thru Different Eyes — 



1401 No. Western .Ave., Hollywood, Cal. 



Fairbanks, Douglas — playing in The Iron Mask — 
Pickford-Fairbanks Studios. Hollywood, Cal. 
Fairbanks, Douglas. Jr. — playing in Jazz Age — 
FBO Studios, 780 Gower St., Hollvwood, Cal. 

Farrell, Charles— plaving in Blue Skv—Fov. Stu- 
. dios, 1401 No. Western .Ave., Hollywood, Cal. 

Fazenda, Louise — playing in The Desert Song — 
Warner Bros. Studios. 5842 Sunset Blvd., Hollywood, 



Brent, Evelyn— . . 

Paramount Studios, 545 1 Marathon Street, Holly- 
wood, Cal. 

Bronson, Betty — recentlv completed She Knew 
Men— Warner Bros. Studios, 5842 Sunset Blvd., 
Hollywood, Cal. 

Brook, Clive— plaving in The Four Feathers- 
Paramount Studios, 545 1 Marathon St., Hollywood, 
Cal. 

Brooks, Louise — recently completed The Canary 
Murder Case — Paramount Studios, 5451 Marathon 
St., Hollvwood, Cal. 

Brown, Johnny Mack — playing in Coquette — 
Pickford-Fairbanks Studios, Hollywood, Cal. 

Byron, Walter— playing in (?«««« Kelley-XJnited 
Artists Studios, 1041 No. Formosa Ave "" ' 



Gaynor, Janet — playing in Blue Sky— Fox Studios, 
1401 No. Western Ave., Hollywood, Cal. 
Garbo, Greta- playing in Wild Orchids— Metro- 
Goldwyn-Maver Studios, Culvei Citv, Cal. 

Gilbert, John— plaving in T/i/rs;- Metro-Gold- 
wyn-Mayer Studios, Culver City, Cal. 

Graves, Ralph — recently completed Sideshow — 
Columbia Pictures Corp., 1408 Gower St., Holly- 
Gray, Lawrence— playing in While Fury — Fox 
Studios, 1401 No. Western .\ve., Hollywood, Cal. 

Griffith, Corinne — playing in Prisoners — First 
National Studios, Burbank, Cal. 



J|ai 



Hale, Alan— play-^r^g in Leaihernecks— Paths Stu- 
iios. Culver City, Cal. 
Hall, James — recently completed The Case of 



Lena Si 

St., Hollywood, Cal. 

{(Continued on page 



Studios, 5451 Marathon 



ll 




jutistic 

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The usual price of this work 
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SEND NO MONEY— Just mail os the photo— any size (Full 
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Michigan Ave. at 20th St. Dept 55 Chicago, lU. 



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|\ Particulars of. Dr. Esenwein's famous fort^ 



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Dept. MP-15 



In the Starry Kingdom 



(Continueiirompagen 



o 



Brlen, George — playing i 



Hollywood, Cal. 

Holt, Jack — playing in Sunset Pass — Paramount 
Studios, 5451 Marathon St., Hollywood, Cal. 

Horn, Camilla — recently completed The King of 
the Mounlain — United Artists Studios, 1041 No. 
Formosa Ave., Hollywood, Cal. 

Hyams, Leila — playing in Spite Marriage — 
Metro-Goldwyn-Mayer Studios, Culver City, Cal. 



_' Studio., __, , , _„.. 

Oland, Warner — recently completed The Faker — 
Columbia Pictures Corp., 1408 Gower St., Hollywood, 



Gower St., Hollywood, Cal. 



P^ll; 



, Anita — playing in Broadway Melody — 
[etro-Goldwyn-Mayer Studios, Culver City, 

infis, Emil— playing in .4 Ta/f o///!c X/Z-rncj Philbin, Mary— recently completed Port of 

- — '■ - — ■• - Dreoms— Universal Studios, Universal City, Cal. 

Phipps, Sally — playing in Scarehead — Fox Stu- 
dios, 1401 No. Western Ave., Hollywood, Cal. 
. . Pickford, Mary— playing in Coquette — Pickford- 
.Fairbanks Studios, Holh-wood, Cal. 

Powell, William— playing in The Four Feathers— 



J —Paramount Studios. 545i Marathon St., Holly- 
wood. Cal. 

Jolson, Al— recently completed TheSingingFool— 
Warner Bros. Studios, 5842 Sunset Blvd., Hollywood, 
Cal. 

Joy, Leatrice — recently completed Strong Boy — 



., Hollywood, Cal. 



Prevost, Marie— recently completed Sideshow— 
iage— Columbia Pictures Corp., 1408 Gower St., Holly- 
City, wood, Cal. 
„„.. Pringle, Aileen — recently completed Dream of 

Kent, Barbara — recently completed The Shake- Love — Metro-Goldwyn-Mayer Studios, Culver City, 



K^ 



aton, Buster — playing in 5. 
Metro-Goldwyn-Mayer Studio; 



Eke, Arthur — playing in Campus Kisses — Uni- 
versal Studios, Universal City, Cal. 
La Plante, Laura — playing in The Haunted Lady 
—Universal Studios, Universal City, Cal. 

Loff, Jeannette — recently completed Annapolis — 
Pathe Studio ~ ' "' " " 



orp., 1408 Gower St., Holly- 



Logan, Jacqueline — recently completed The Faker 
—Columbia Pictures Corp., 1408 " " " " 

wood, Cal. 

Lorraine, Louise — recently completed The Final 
Reckoning— Universal Studios, Universal City, Cal. 

Love, Bessie — recently completed Broadu'ay Mel- 
ody — Metro-Goldwyn-Mayer Studios, Culver City, 
Cal. 

Lowe, Edmund — playing in Thru Different Eyes 
— Fox Studios, 1401 No. Western Ave., Hollywood, 
Cal. 

Loy, Myrna — recently completed Hard Boiled 
i?05e— Warner Bros. Studios, 5842 Sunset Blvd., 
Hollywood, Cal. 

Luden, Jack — recently completed Sins of the 
Fathers — Paramount Studios, 5451 Marathon St., 
Hollywood. Cal. 

Lyon, Ben — recently completed .-' ' '' - -- ■^^'-^ 



wood, Cal 

Reed, Donald — recently completed Hardboiled — 
FBO Studios, 780 Gower St., Hollywood, Cal. 

Revier, Dorothy — playing in Scarehead — Fox Stu- 
dios, 1401 No. Western Ave., Hollywood, CaJ. 

Rich, Irene— recently completed Ned McCobb's 
Daughter— Paths Studios, Culver City. Cal. 

Rogers, Charles (Buddy) — playing in Close Har- 
mony — Paramount Studios, 5451 Marathon St., 
Hollywood, Cal. 



N. Formosa Ave., 



Ml 



Mackaill, Dorothy — playing in Children of the 
Rilz— First National Studios. Burbank, Cal. 

Maynard, Ken— playing in The California Mail— 



1 Strong Boy — Fox 



— Paramount Studios. 5451 Marathon St., Holly- 
wood, Cal. 

Mix, Tom— recently completed The Drifter— FBO 
Studios, 780 Gower St., Hollywood, Cal. 

Moore, Colleen — playing in Why Be Good — First 
National Studios, Burbank, Cal. 

Moore, Owen — recently completed Stolen Love— 



FBO Studios, 780 Gower St., Hollywood, Cal. 

Moran, Lois— playing in True Heaven— Fox Stu- 
dios, 1401 No. Wester ~ ' 

Moreno, A 



., Hollywood, Cal. 



Rubens, Alma — playing in She Goes 
United Artists Studi "' '^ 

Hollywood, Cal. 

Schildkraut, Joseph — playing in A Bargain in the 
Kremlin— Vniversai Studios, Universal City, Cal. 
Sebastian, Dorothy— recently completed The 
i?fl/«6ow— Tiffany-Stahl Studio, 4516 Sunset Blvd.. 
Hollywood, Cal. 

Shearer, Norma — playing in The Trial of Mary 
D;(4'aK— iMetro-Goldwyn-Ma\er Studios, Culver 
City, Cal. 

Sills, Milton— playing in Comedy of Life— First 



Goldwyn-Maver Studios, Culver City, Cal. 

Stuart, Nick— playing in Girls Gone Wild— Fox 
Studios, 1401 No. Western .^ve., Hollywood, Cal. 

Swanson, Gloria— playing in Queen Kelley— 
United .\rtists Studios, 1041 No. Formosa Ave., 
Hollywood, Cal. 

Talmadge, Norma — recently completed The 
Woman Disputed — United Artists Studios, 1041 
No. Formosa Ave., Hollywood, Cal. 

Terry, Alice- playing in The Three Passions— 



Todd, Thelma— playing in Seven Footprints to 
Satan— First National Studios, Burbank, Cal. 

Torres, Raquel — playing in The Pagan — Metro- 
Goldwyn-Mayer Studios, Culver City, Cal. 

Tryon, Glenn — recently completed Broadway — 
Universal Studios, Universal City, Cal. 

Tyler, Tom— playing in Gun Law— FBO Studios, 



, _ .cently completed Adoration 

t National Studios, Burbank. Cal. 

Morton, Charles — playing in Nexo Year's Ere — 

Fox Studios, 1401 No. Western Ave., Hollywood, Cal. 

Mulhall, Jack— playing in Children of the Ritz— 

First National Studios. Burbank, Cal. ' 

Murray, James — recently completed The Shake-^ 

down — Universal Studios, Universal City, Cal. 



N1 



780 Gower St., Hollywood, Cal. 



Valli, Virginia— recently completed Street of Illu- 
sion — Columbia Pictures Corp., 1408 Gower St., 
Hollywood, Cal. 

Vaughn, Alberta — playing in A'^oisy Neighbors — 
Pathe Studios, Culver City, Cal. 

Veidt, Conrad — recently completed £r»V the Great 
—Universal Studios, Universal City, Cal. 

Velez, Lupe— playing in The Wolf So««— Para- 
mount Studios, 545 1 Marathon St., Hollywood, Cal. 

Vidor, Florence — recently completed Tong War — 
Paramount Studios, 5451 Marathon St., Hollywood, 



Nixon, Marian— playing in The Red Sword— FBO 
Studios, 780 Gower St., Hollywood. Cal. 

Nolan, Mary — plaj'ing in Thirst — Metro-Gold- 
wyn-Mayer Studios, Culver City, Cal. 

Norton, Barry— playing in The Command to Lova 
—Paramount Studios, 54S " 
wood. Cal. 

Novarro, Ramon — plaving in The _ Pagan- 
Metro-Goldwyn-Mayer Studios, Culver 

Nugent, Eddie— playing in The Duki 



w 



r City, Cal.' 

_ ke Sups Out- 

—Metro-Goldwyn-Mayer Studios, Culver City, Cal. 



'hite, Alice— playing in Hot Stuff— First Na- 
. . tional Studios, Burbank, Cal. 

.. , Wilson, Lois— placing in Object Alimony— Coium- 

Marathon St., Holly- bia Pictures Corp., 1408 Gower St., Hollyivood, Cal. 
Windsor, Claire — recently completed Captain 
Lash— FoK Studios, 1401 No. Western Ave., Holly- 
wood. Cal. 

Wray, Fay — plaving in The Four Feathers — Para- 
mount Studios, 5451 Marathon St., Hollywood, Cal. 




sum 

Findthek^ tounlock 



MIERE are 19 keys pictured 
J[ here. To be sure, they all 
look alike, but, examine them 
I closely. 18 ofthem are exactly alike 
but '*ONEt»» and only one is DIF- 
FERENT FROM ALL THE 
OTHERS. It is the key to 
[ OPEN THE PADLOCK on this 
$3,000.00 FREE "Bag of Gold." 
' SEE IF YOU CAN FIND IT. 

The difference may be in the size, the shape, or even 
in the notches. So, STUDY EACH KEY CARE- 
FULLY and if you can find the "ONE" KEY that 
is different from all the others SEND THE NUMBER OF IT TO ME AT 
ONCE. You may become the winner of a Chrysler "75" Royal Sedan or $3,000.00 
cash money, — without one cent of cost to you. I will give away ABSOLUTELY 
FREE, — 5 new six-cylinder 4-door Sedans and the winners can have CASH 
MONEY INSTEAD of the automobiles if they prefer it. 25 BIG PRIZES TO 
BE GIVEN FREE— totaling $7,300.00 cash. 

■» Or Win a CHRYSLER **7S" Sedan ^ 

Choice of tnis beautiful Chrysler "75" Royal Sedan or $3,000.00 cash. We pay all the freight 
and tax in full on all the prizes and deliver them anywhere in the U. S. A. This is an AMAZ- 
ING OPPORTUNITY. ACT QUICK, and here is why— 

$1,000.00 CASH— EXTRA FOR PROMPTNESS 

I will pay $1,000.00 cash money extra JUST FOR PROMPTNESS. Duplicate prizes will be 
paid in full in case of ties. YOU CAN WIN the Chrysler "75" Royal Sedan or— $3,000.00 
cash. ANSWER QUICK. 

Absolutely everyone who takes full ad- 
vantage of this opportunity will be 
rewarded. But. hurry, — find the 
"ONE" key that is different from all the others and RUSH THE NUMBER OF IT and 
your name and address to me TODAY on a postal card or in a letter. And, just say: — "Key 

number is different from all the others. Please tell me how I can get this magnificent 

Chrysler '75* Royal Sedan— or— $3,000.00 CASH MONEY without obligation or one penny 
of cost to me." 



You Cannot Lose 



E. COLLINS, S37 South Dearborn St» 

Dcpt.S66 CHICAGO, ILL. 





17/ 
16/ 
15/ 



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in 3 Days" 

Get Rid of Your Pimples, Blackheads, 

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Dept. J-32, No. 1700 Broadway, New York, N .Y. 



LET ME TELL YOU 

About yourbusi!iess,travel,changes, 
inabimony,lo¥e affairs, friends, en- 




Birth and Intellecl. Write name, ad- 
dress, and dale of birtli plairly in 
block letters. Address: "Pundit 

(Dept. 438), Upper Forjett St., Bombay 



^our'Personal 
' t/Tppearance — 



t, SPECIALIST Dept. t 




JOHN Gilbert will be the highest paid star 
on the screen under his new contract for 
Metro-Goldwyn-Mayer. He is to have a 
salary of $ lO.ooo a week. Under his contract 
he will make six pictures, at the rate of two 
a year, receiving $250,000 for each one. 



FRED Thomson, the popular cowboy star, 
passed awayrather unexpectedly] ust after 
Christmas. Thomson had been ill with the 
influenza for several weeks, and had just been 
operated on for gallstones but was believed to 
be doing well. Hewasforty-two years old, and 
was the husband of 
Frances Marion, 
the scenarist. 

Thomson had 
had a very colorful 
career. He was one 
of the most noted 
athletes on the West 
Coast, an interna- 
tional champion in 
all-around track 
and field sports. He 
had served with 
distinction in the 
World War. And 
was a Presbyterian 
minister. He en- 
tered pictures first 
as a double for mi- 
nor athletic stars, 
then played 



tions on their years program. This is owing 
largely to the very successful vocal tests 
made by this star for them. 



oppo 



Ma 



Pickford in the 
"Love Light." Then 
he started making 
Western pictures, 
riding his famous 
white horse, Silver 
King. 




PRODUCTION is 

being speeded 
up on the all-talkie 
version of " Bulldog 
Drummond," Ron- 
ald Colman's next 
picture for Samuel 
Goldwyn. 



U.l 



W.vi 



Speaking of reports, rifle and otherwise, 
there's that of the engagement of Gary 
Cooper and Lupe Velez. But so far it 
seems to concern only the one for them they 
play together in "The Wolf Song" 



ESTELLE Taylor 
has just been 
signed to play opposite Lon Chaney in a 
picture to be called "Where East Is East." 
The Malay Peninsula is the locale of the 
story. There is a rumor that Chaney may 
win the girl this time. 



recently, she preserved her incognito 
under the nom de plume of Anna Smith, the 
name she registered under at her hotel. 
They say the disguise was complete. 



FANS who want to hear Jannings had bet- 
ter see the "Sins of the Fathers." There 
will be no dialogue, but Emil is to sing a song. 
This may be their only opportunity to hear 
Jannings if Paramount sticks to its decision 
to keep him in silent pictures. 



• to make five 
talking pictures for 
Warners during the 
year. The first one 
will be "The Gam- 
blers." 



FOX is re-editing 
four Tom Mix 
Westerns that were 
made several years 
ag;o. They are to be 
reissued soon. Wish 
more old pictures 
would be shown. 



CECIL DeMille will rehearse the cast of 
"Dynamite" until it is letter perfect 
before he starts on filming it. This is the 
first time DeMille has directed dialogue re- 
hearsals since he left musical productions 
for vaudeville some years ago. 



O^ 



to the success of "Blindfolded" 
'False Colors," Fox will continue 

featuring George O'Brien and Lois Moran as 

leads opposite each other. 



M-G-M is going to produce an original 
musical comedy with sound, starring 
William Haines. It is still uncast and un- 
titled. 



CORiNNE Griffith has just signed a new 
contract with First National, and will 
make some of the most elaborate produc- 



AL.'S.N Crosland is to direct David Lee, 
■ who made such a hit in "The Singing 
Fool," in another picture for Warners to be 
called "Sonny Boy." Al Jolson will super- 
vise the film career of his little protege. 



I**'*^:^^. 




Fannie 
Brice 

Steps from 
the screen to 
s/ng and talk 
to You I 



A famous star of the Stage 
rises to greater stardom 
and imperishable fc 
through ViTAPHO. 
Fannie Brice — m the 
Vitaphone production 
''MY MAIT—She makes 
you laugh! Makes y ou cr> ' 
Lifts you to soul-stirring 
emotional climaxes, as she 
triumphs over lost love 
and gains the lot e of mil- 
lions! See and hea 
Brice in— "Mi WIN 



1 Warner Bros. J^resent 

rvelous entertainer 

nif man' 



v<r this marvelous entertainer 

'A 



I IF THERE IS NOT A THEATRE IN YOUR COMMUNITY Tfl 
EQUIPPED AS YET TO SHOW "MY MAN" AS A TALKING L 
PICTURE — BE SURE TO SEE IT AS A SILENT PICTURE JJ 



ANOTHER notable achievement of Vitaphone 
— bringing to the world the marvelous art of 
Fannie Brice — her subtle humor — her sym- 
pathy — her deep understanding of Life, its 
loves, hopes, tragedies, triumphs. 
In ''MY MAN," the real Fannie Brice steps 
from the Screen to sing and talk to you. 
More astonishing, more fascinating — you 
>«ill say — than the living presence of the 
artist: 

You will hear her sing the songs that have 
made her the idol of millions — "My Man" — 
"I'd rather be Blue over You" — Tm an 
Indian" — "Second-Hand Rose" — "If you want 
the Rainbow, You must have the Rain. " 
See and hear "MY MAN." Then you will know 
that a glorious new chapter of Progress has 
been written. You will be utterly amazed at 
the realism of Vitaphone. You will acknowl- 
edge its stupendous accomplishment in bring- 
ing to the people everywhere the best enter- 
tainment the world caa o£fer. 



LEPT OVERiS 



^ ^I^LTER Ramsey 



Hollywood 
¥ightandDay 



Thoughts while strolling: Anna May Wong. Just a little These plastic artists can well be called the history-making 

gesture from Shanghai. profession. They wage war against the sins and blemishes of our 

Joseph Schenck starting out in white knickers from the Roosevelt forefathers and change the maps of the present generation. 

Hotel at nine a.m. * * * 

Billie Dove in a haberdasher's. I can almost imagine her husband Wilshire Boulevard is dotted with rejuvenation joints. For 

in that green tie she is buying. the price of a suite at the Ambassador the ladies enjoy all the ad- 
Just finished my press agent mail from the studios. vantages of a rest cure while having their chins hoisted. One place 
A few nothings in praise of practically nothing. promises to make them look like the nymph on the billboard outside. 
Wonder how Sid Grauman likes "Spider Boy"? The artist must have forgotten it was an advertisement — the nymph 
Lina Basquette waving her arms from a boarding house. hjs Hal [■ el * ^^ , 
It's only for a picture. Jean Hersholt standing in line to si ,_ 

Jannings' latest masterpiece. One 



actor getting a look at 
another for fifty cents. 

Wonder what the husband of a 
star thinks about? 

Somebody tickling Jobyna Ral- 
ston. 

Somebody being slapped. 

It's the way of all fresh. 

A woman must have invented 
the talkies. 

Maybe Mrs. Willebrandt. 

The door-man at the Mont- 
marte who remembers everybody's 

Prop boy imitating the horses 
for a noisy. 

Ah! a bright new popcorn stand 
on the boulevard. 

That's two now. Murderous 
price-cutting competition will soon 
commence. 

Preferred stock in Gin-High- 
Balls A has hit a new low for the 
year. Twenty people died last 
week from poisoning. 

Edward Everett Horton — a boy 
from the stage who made good in 
the talkies. 

There seem to be more legit- 
imate stage actors getting over in 
pictures every day. And more 
tried and true troupers of the 
illegitimate drama going out on 
their respective Annie Fays. 

It's more or less of a mystery 
why Al Jolson has refused to com- 
ment on "Mother Knows Best." 

As somebody or other once said: 
form of originality." « * ^^ 

Hollywood probably has more plastic surgeons than any other 
town in the world! It has more advertisers who claim to cure facial 
disorders than it has speakeasies. "From mother roles to ing'nue 
parts in four operations," is their motto. They guarantee to change 
your nationality from Greek to Roman in twenty minutes and 
twelve seconds. "From wall-flower to Swanson or your money back! 
Why spoil your chance in the talkies because your ears flop? Just 
because your father buys meat in a delicatessen, why advertise the 
fact? For thirty nine-dollars (special sale) we will give you the best 
nose, the cutest mouth and the quaintest chin in town." 

And Hollywood falls for it. Partly through necessity but 
mostly because it falls for everything. Many a cute little blonde gal 
has returned from a "two weeks' rest in Palm Springs" with every- 
thing but the size of her feet changed. "For better or for worse" is 
a phrase that has been applied, now to marriage, then to death and 
at last to plastic operations. There have actually been cases when 
they got the nose off and couldn't get it back. 

16 



Beauty is expensive in Holly- 
wood. And highly cultivated like 
pampered orchids in a hot-house. 
I mean really cultivated. Eye- 
brows pruned for fifty-cents; 
rouges, I mean roses, planted for 
a dollar a box; crow's-feet hoed 
for two bucks; grafting, a la 
Burbank, from a lemon to a 
peach; henna spray for that 
blonde blight. Result: another 
American Beauty. 

Short story with moral at- 
tached: It all happened on a 
sound-proof stage. The whole 
staff on an M.G.M. talkie was 
stumped. What was that swishing 
noise coming over the sound 
track? Finally Jim Gleason hit 
upon the solution that it was two 
pieces of silk hitting together. 
Cherchez la knock-kneed femme. 
But there was only one girl on 
the set and she wasn't wearing 
stockings. Jim called down 
from the director's box, high in the 
air, to little Anita Page asking 
what she had on. She told him. 
He told her to take 'em off. Now 
her mother comes every day. 

A visitor to our little city was 
overheard to comment: "Holly- 
wood is a queer town; its famous 
citizens are possessed of the most 
advanced stages of inferiority- 
complex which they attempt to 
Imitation is the dumbest conceal with money." True or not, it sure is a quaint observation. 




Two representatives of two famous acting families : Isabelle 

Sheridan, a young cousin of Mary Pickford's, as she appears 

in one scene with John Barrymore in a new photoplay 

directed by Ernst Lubitsch 



Sign on the Hollywood American Boxing Stadium: "Where the 
stars see the fights." And after witnessing the slaughter in the main 
event, they might add: "Where the fighters see the stars." 

Pity the poor extra who misses the bus to Culver City. Although 
the two studio centers are only separated by about ten Rolls-Royce 
miles, the Culver City bus is the only direct way of getting from one 
to the other. If he misses it in the morning, it means a taxi cab. And 
the fare is almost as much as he can make for the day. Street cars 
would be all right except for two reasons: first, he has to be on time if 
he wants to work at all. Second, there aren't any direct street cars 
from Hollywood to Culver City. It has been found by experience 
that it requires three transfers, three waits and probably a tardy 
excuse to cover the distance. 

Young fellow out at Universal recently invented the popular 
razzberry horn (memories of the buck private in "What Price 
Glory") that is now adorning the cars of actors out of jobs, actors 
looking for jobs and collegiates who have flunked their exams. 



''What? learn Music ^^ 

hy MSiilT' they laughed ' 




t/es] I cried, and f II bet 
money lean do itT 



IT all started one day after lunch. The 
office crowd was in the recreation-room, 
smoking and talking, while I thumbed 
through a magazine. 

"Why so quiet, Joe" some one called to 
me. 

"Just reading an ad," I replied, ''aU about 
a new way to learn music \^\ mail. Sa> s liere 
any one can learn to play in a lew months at 
home, without a teacher. Soiuids easy, the 
way they tell about it." 

"Ha, ha," laughed Fred LawTence, "do 
jrou supp.ose they would say it was hard?" 

" Perhaps not," I came back, a bit peeved, 
"but it sounds so rea.sonable I thought I'd 
write them for their booklet." 

Well, maybe I didn't get a razzing then! 

Finally Fred Lawrence sneered: "^^^ly, 
it 's absurd. The poor fellow really believes 
he can learn music by mail!" 

To this day 1 don't know what made me 
come back at him. Perhaps it was because 
1 really was ambitious to learn to play the 
piano, .\nyhow, before I knew it I 'd cried, 
"Yes, and I'll bet money I can do it.'' But 
the crowd only laughed harder than ever. 

Suppose I Was Wrong — 

As I walketl upstairs to my desk I began to 

regret my haste. .Suppo.sc 

that music course wasn't 

what the ad said. Suppose it 

was too difficult for me. And 

how did I know I had even 

the least bit of talent to help 

me out. If I fell down, the 

boys in the office would have 
_ the laugh on me for Ufe. But 
"just as I was beginning to 

weaken, my lifelong ambition 

to play and my real love of 

music came to the re-scue. 

And I decided to go through 

with the whole thing. 

During the few months, 

that followed, Fred Lawrence 



never missed a chance to give me a sly dig about 
my bet. .\nd the boys always got a good laugh, 
too. But I never said a word. 1 was waiting pa- 
tiently for a chance to get the last laugh myself. 

My Chance Arrives 

Things began coming my way during the_ office 
outing a' "'-- "^ 



^^7, 



1 of Music ad. and how Fred 



e all sj 






n the c 



e began asking. 
'righ"i 



•r. Sud- 
■■\Vh(i 
Iv, Fred 



profitable bet I made with Fred." 

Play Any Instrument 



That gave the b..\- ;. -- — I lini^il- \ii.l -..:!,.■ 
them got on either Mdr .ri me :nnl v.it\t inini. Llii;n;i 

.•say. "Oh, let the poor fellow alone: can 't you see he 
mortified to death?" 

The Last Laugh 

I smiled to myself. This was certainly a wonderfi 
setting for my little surpri.se party. Assuming 

scared look, I stumbled ov— " "' ' ti_ . 

crowd tittered. 

"Play'The Varsity Drag 
to embarra,ss me further. 

I began fingering the ke; 
wonderful feeling of cool 
right into the very selectio 



and t 



the pan 



: U. 



nind I 



Schoc 



which 1 



the r 



.\nd 



jump to his feet and shout, ' 
there! Let's dance!" 

Tables and chairs were pu- 
whole crowd wa,s shuifling ar 
a time. Nobody would he. 



the piano while 

' shouted Fred, thinking 

, and then . . . with a 
onfidence ... I broke 
Fred asked for. There 
om as I made that old 
mutes I heard a fellow 






_,. - .. ... will be the same— 

t a few cents a day. No matter whether 

-e beginner or already a good performer, 

you will be interested in learning about this new 

Send for Our Free Booklet and 
Demonstration Lesson 

Thousands of successful students never dreamed 
thev possessed musical ability until it was revealed 
to them by a remarkable ■'Musical .\bility Test" 





What 




Instrument 




for You ? 


Pi.no 




Orga 






Hawaiian Steel 










S-St 




Ten 




Cl.ri 


let Cello 


Flute 














Sight Singing 


Aul 


/nra-tfcVi-nVe'r^-'n'tTol 







10 obligation. Sign 
. Instruments supplied 



School of Music. 603 



juldn't 



ne,he8 



o play by mail 
•e deserves t< 



" Learn to play by mail," ex- Have you above Instrument? 

ilaimed a dozen people. "That 

lounds impossible! Tell us how Name 

raudidit!^ ^^^^33 

I was only too glad to tell them 

low I'd always wanted to play City State 

17 



J_VJLr»s. V^oi-xielivi^ V aixcLex-liilt Ji'. 



P JLOi 



eauH 



ENTRANCINGLY BEAUTIFUL 
as this romantic world would wish 
her to be is Mrs. Cornelius Vanderbilt 
Jr. Slim as a nymph, with glorious 
Titian hair and a skin as fair as haw- 
thorn blossoms, this young bride is 
winning all hearts with her charm. 

Modern to her finger tips, Mrs. Van- 
derbilt is ever on the wing. In a Maine 
camp ... in Provincetown with artists 
and writers . . . flitting through New 
York shops . . . then en route for the 
Far West in the big custom-built car 
which has crossed the continent 28 times 
... At last to "Sagebrush," the Vander- 
bilt ranch in Nevada, where much of her 
husband's writing is done. 

Always she shares his work, his con- 
stant comrade and chum. The carefree 
life of the Western desert country de- 
lights them both. Mrs. Vanderbilt is a 
crack shot with rifle, shotgun or re- 
volver, and she can rope a steer as clev- 
erly as any cowboy. 

Despite her outdoor life, her con- 
stant travel, she has found the way to 
guard the flower-like freshness of her 
complexion. 

"Even on our Nevada ranch," she 
says, "I have my daily 'facial' — with 
Pond's. 

"One can keep one's skin really young 
and lovely with just these Two mar- 



(BELow) Beantijul women every- 
where use Pond's Jour preparations 
because they are so exquisitely fine 
and pure. In these special green 
glass jars, made by Pond's for her 
dressingtable, Mrs. Vanderbilt keeps 
the Two Creams and Freshener. Sev- 
eral of the dainty velvety new Clean s- 





vjiil .. 



Weir of Davenport, Iowa. She i: 

with wistful blue-grey eyes, glorious Titian hair 

skin like hawthorn bloom. This chic ensemble i 



Send 10<? /o 


• Pond s A preparations 


Pond's Ex 
113 Hudsor 

NamP 


PRACT Company, Dept. Q 
Street ... New York City. 




City 


Srp^p 



velous Creams, the exquisitely fine 
Tissues, the wonderfully invigorating 
Tonic. I'm devoted to Pond's." 

WHEREVER you go, this simple 
daily treatment with Pond's four 
preparations will preserve the fitness of 
your skin:- 

First, keep your skin immaculately 
clean by pore-deep cleansing, after ex- 
posure and every night before retiring. 
Spread Pond's Cold Cream lavishly, 
with upward outward motion over face 
and neck, letting the fine oils sink deep 
below the skin. 

Then gently remove the dirt and cream 
with Pond's soft Cleansing Tissues. 
They are finer than old linen and absorb 
the cream and dirt instead of rubbing it 
into the pores. 

Next, pat Pond's Skin Freshener over 
your face and neck— until the skin glows. 
This wonderful new tonic and mild 
astringent closes the pores, tones, re- 
freshes and invigorates. 

Last, to complete your daytime toi- 
lette, and before you dress for evening, 
just a thistledown touch of Pond's Van- 
ishing Cream for protection and as a 
powder base. 

Try this delightful Method! Send the 
coupon below for trial packages of Pond's 
four preparations, enough to last a week. 



(below) Here in their familiar 
everyday containers are "the four 
enchanting things Pond's makes" as 
Mrs. Vanderbilt says. Pond's Cold 
and Vanishing Creams, Cleansing 
Tissues and Skin Freshener com- 
pose Pond'^ Method— so efficacious, 
so quick to use. Use them yourself 
wherever you go, and keep lovely! 





The requirements of Lupe Velez's forthcoming screen story had driven her 
to tiers— upon her skirt, at least. For the narrative of "Wolf Song" is set 
in the period before giris, even girls like Lupe, had ankles; when hems, and 
not vacuum cleaners, swept the floor 




Dorothy Mackaill maintains that sex-appeal doesn't depend upon what you 

wear or don't wear, but upon what you think. We trust that in "Children of the 

Ritz" she will put the last word in It in the last word of the title 




The talkies take second place nowadays in Hollywood as an incentive to young 

women to cultivate their voices. The greatest urge has come with the news that 

Buddy Rogers is to have the lead in "Close Harmony," and the girls are rounding 

into shape to vamp till ready 




It seems almost inconceivable, that so soon after her marriage to John Barrymore 

it should happen. It's enough to make anyone cynical. But it's actually a fact: 

Dolores Costello is going to appear in the title r61e of a picture named, by some 

pessimist, no doubt, "Alimony Annie" 




With a star like Lois Moran in it, "True Heaven" — the film she's going to do 

after "Blindfold "—should be all that the name implies. Miss Moran is unique 

among the younger players: she has matured a bit and yet held her every whit 

of freshness 




/?. H. Louise 



Johnny Mack Brown plays Greta Garbo's husband in "A Woman of 
Affairs." And although Jack Gilbert's in the picture, and more or less 
foreordained by box-office rules to win the girl eventually, Johnny seems to 
think it was a great wife while it lasted 



When you talk about silken tresses in relation to Carmel Myers, it's no mere 
figure of speech. You just know she wears 'em. The occasion is a job of work as a 
skilled vampire in "Dream of Love," and she has already rolled down her sleeves 




Norman Kerry is a screen actor who hasn't the idea of making a big, quick 

killing and then rushing into a hectic retirement. Which no doubt explains 

why he, where many others have come and gone up in smoke, continues to 

be very much in the picture 



FEB -6 1929 

■P-H>-> THE SCREEN MAGAZINE OF AUTHORITY <-^<i-<- 




MAJOR GEORGE K. SHULER 
Pui/isher 



LAURENCE REID 
Managing Editor 



DUNCAN A. DOBIE, JR. 
Genera/ Manager 



e 



am era: 



f 



^ 'W "TTrH the passing of Theodore Roberts 
^ % ^L I passed a part of something that seems 
^V ^ / %/ seldom to grow in the hothouse garden 
Ml W W of the screen. 

Actors call it trouping. And it means, 
for one thing, that the performance of a scene is the 
most important thing in an actor's life. It means 
that no matter how a man may feel, whether he has 
a headache or a heart ache or a toothache; no matter 
whether he's tired from an all-night ride in a stone- 
cold railroad car; no matter w^hether he likes the rest 
of the people in the cast or not — when he steps out 
before his audience, he must and does give everything 
he has. The laugh-clown-laugh stuff, if you will. 
But it's magnificent stuff. And in these days when 
full-grown men are so dainty-souled that they must 
be wakened in the morning by their wife's passing a 
cut orange under their nostrils. When art and tem- 
perament and other such self-conscious words are so 
frequent in the conversation of those who lack both 
— it makes you feel a little empty to see one of the 
grand old genus trouper, such as Theodore Roberts 
was from first to gallant last, no longer with us. 

A BEACON TO BEGINNERS 

The present generation of machine-made players 
would do well to remember Roberts as his fans al- 
ways will. His cigar has gone out, but for the boys 
and girls of today the light of his manliness and his 
abilities should be cherished as a beacon. 

-And speaking of Roberts, one cannot but think of 
the unkindness of those from whom he might have 
expected so much of the opposite, which befell him 
when his health failed. Perhaps not because his 
health failed, but because his earning capacity did. 

It is another indication of the hardness of the 
grain of people one finds so often in Hollywood. One 
would almost come to believe that the most ordinary 
of human sympathies and decencies were entirely 
lacking in this place where success is a thing fought 



lor with brass knuckles and blackjacks. Roberts, 
the soul of generosity and upstanding courage, is one 
example. Jaime Del Rio, come to die alone in a 
foreign city whose language he could not under- 
stand, is another. 

GENE AND OTHERS NOT GENIAL 

While we're on the subject of foreign lands, we 
can't help commenting upon the recent action of 
Mr. Gene Tunney, who traveled all the way from 
Italy to make a speech, not so long ago, to a body of 
British Marines. Mr. Tunney is not a screen per- 
sonage, but his case is relevant to that of some who 
are. And the relation is this: while he was in Lon- 
don, after his defeat of Mr. Heeney, Mr. Tunney 
expressed an annoyance at the attention of the press 
toward him. He said he wished nothing printed 
about him. And the British newspaper men, irritat- 
ingly enough, took him at his w^ord and used their 
other and more genial personalities. We wonder if 
this sudden and unexpected void in publicity was not 
back of Mr. Tunney's long train journey to England 
later, to participate in an event which the papers 
could not quite ignore. At any rate, we wonder what 
some of our present-day film celebrities, who must 
scan every comma of a story about them, who swoon 
at the slightest suspicion of adverse criticism- — we 
wonder how sincere they are in their expressions of 
apathy toward publicity. Also we wonder what 
would be the reaction of their press-agents if their 
employers got what Mr. Tunney did. 

That is, in a way we wonder. We really believe 
that we know about what would happen. We be- 
lieve that both the stars and their paid satellites 
would come to know very quickly what is behind the 
screen of ego they have combined to erect around the 
vision of celebrity. They would find out, as did Mr. 
Tunney, that the world seldom has to be urged to 
forget anybody. The difficulty usualh- is just the 
other way around. 




\ ROCK-COATED reformers who seek to 
get their blue-boned hands on the laws of 
the nation which govern the motion pic- 



ture business will not receive any support 
, ^ ., 'toft' 

United States. 



from Herbert Hoover, the President-elect 



The next occupant of the White House is ex- 
ceedingly friendly toward the film industry and 
will seek to help rather than hamper its ex- 
pansion. 

That was made plain to a writer for 
Motion Picture Magazine when Mr. 
Hoover passed through Los Angeles, the 
capital of cinemaland, to board ship for the 
now historic goodwill tour of South America. 

And Mr. Hoover's belief in the value of thi 
motion picture as a diplomatic and commercial 
minister of America was strengthened by that 
trip. 

He found that American films are helping to 
sell American hats and shoes and radios and 
motor cars to the lands below the Rio Grande as 
well as to the rest of the world. 

He found that American movies are 
spreading abroad the signs and the 
spirit of the civilization that 
America's. 

Above all, he found that the 
movies of all lands are helpinj 
immeasurably to bring about 
a better understanding be- 
tween the peoples of the 
earth, by bringing to each 
country an intimate pic- 
ture of the life and loves 
and laughter of the others. 

Herbert Hoover was a 
firm believer in the motion 

28 



Mr. 

(^ensures 

His Past Views and 
Him in Favor of the 




By WILBUR MORSE, Jr. 



EDITOR'S NOTE: The author of 
this, the first story on Herbert Hoover's 
attitude toward the films, is peculiar- 
ly well equipped to analyze pictures in 
politics. He was a Washington cor- 
respondent for the Philadelphia Pub- 
lic Ledger for several years and was 
the reporter who gained from Presi- 
dent Coolidge his statement at- 
tacking a proposed federal film 
censorship. Mr. Morse is no' 
a publicity director for 
several of the stars in 
Hollywood. 




picture as 
a great factor in 
bringing about in- 
ternational goodwill 
when, as Secretary of Com- 
merce, he built up the motion 
picture section of the Bureau of 
Foreign and Domestic Commerce. 
That faith in America's film industry 
was made even firmer by his trip to 
South America and will be carried to the 
Chief Executive's desk in the White 
House, across which may some day pass 
proposals of legislation which would re- 
strict the motion picture business. 

There is good reason to suppose that 
several of the restrictive measures deal- 
ing with the motion picture and theater 
business, which were defeated or 
side-tracked in the last session of 
Congress, will be urged upon 
' e new Administration by 
their long-nosed advocates. 
Among these were bills 



The biggest fish in the 
political Waters of to- 
day goes after his pro- 
totype in a Western 
mountain brook. And 
it may be added that 
his interest in reels is 
not confined solely to 
those piscatory 



Hoover 

QensorsMp 

Present Conduct Show 
Freedom of the Screen 



HERBERT HOOVER BELIEVES — 

That "the lowest levels of morals and in- 
spiration in the films are higher than the 
current stage itself." 

That ''every picture of \orlh American 
life shown to the South American peoples 
should carry those ideals which build for 
respect and confidence." 

That "the industry should be its own 
censor." 



seeking to establish a federal film censorship and to effect 
the closing of all theaters in the District of Columbia on 
Sunday; also the Brookhart bill which aimed at a so-called 
regulation of the entire film industry, by the government. 

Mr. Hoover has repeatedly gone on record as opposed to 
government regulation in industry. 

•K federal film censorship, which would throttle the picture business as 
tightly as a noose, will not find favor with him and, despite his Quaker 
training, it is felt that he will not aid the Sunday closings in Washington, 
which would serve as an example for the reformer element to point to in 
seeking Sunday closings throughout the entire country. 

HIS STUDY OF THE SCREEN 

WHEN such measures come before him, Mr. Hoover will view them 
more in the light of a business leader than a politician. 

And thoroughly to understand Mr. Hoover's attitude of friendliness to 
the motion picture business, it is best to return for a moment to his old 
office in the Department of Commerce, where for eight years he proved 
such a strong supporter of all progressive industry. 

The motion picture section of the Department of Commerce, devel- 
oped under Mr. Hoover's guidance, had become a virtual clearing house 
of statistics and surveys on what a vital factor the movies were becoming 
in international trade. 

Commercial attaches in the various corners of the world were instruct- 
ed to study motion pictures as they affected the trade, and were reflected 
in the opinions, of the various countries where they were stationed. 

Reports which centered in Mr. Hoover's office showed that with the 
spread of American films abroad, American trade in furniture, wearing 
apparel, and other products grew proportionately. The visual acquaint- 
ance with our products, made possible by the movies, had stimulated 
foreign buying. Particularly was this true in South America and Asia. 
{Continued on page 86) 





^ 




A Flounce OF Prevention ' 

Such was the hoop-skirt of the days when men, to keep their proper distance, 

had to be more than told to do so. It is worn in this instance and charmingly 

by Evelyn Brent, gowned after the fashion of that most famous of femmes, 

Camille 



Jaime Del Rio: 

^nnocenf i^ystandcr J pm 



He Died Not of What 
The Doctors Said . . 

By DOROTHY DONNELL 



IN a sanitarium in Berlin a young Spaniard died recently w. 
his last difficult breath to whisper a woman's 
name. 
The doctor's report put the ca 
of his death in dry medical terms which. 
translated, mean blood poisoning 
following a minor operation. But 
in the Book of the Recording 
Angel it is written differently; 

"Jaime Del Rio: died of a 
broken heart." 

It takes time for a heart to 
break. In Jaime Del Rio's case 
it took four \-ears, four years of 
grinding cameras, and purplish 
lights, four years of struggle to hold 
the love of his young wife, Dolores; 
four years when his Castihan pridi 
was trampled under small, high-heeled 
slippers, dancing their way to fame. 

In the beginning she had teased for th( 
chance to come to Hollywood and the mo' 
as she might have teased for a bright necklace or a 
new dress for a ball. And he had humored her whim, as he 
had always humored her since he had married the lov 
child of fifteen and made her mistress of the great gloomy 
stone palace in Mexico City. She was only nineteen 
now, restless, loving change and excitement. She 
would soon, he thought, be tired of this new diver- 
sion. Then they planned to go to Paris, and live 
joyously in the Latin Quarter while he wrote plays 
and she studied voice. 

ALW.A.YS OF HER JAIME 

SO the Del Rios moved to Hollywood and 
Dolores painted her small, heart-shaped face 
and made a picture, flitting about the bare, dinf.)^'- 
studio like a child playing a new game. When the 
picture made a small success and interviewers 
began to come, Dolores talked in her quaint 
broken English ceaselessly of her Jaime, of her 
home and her happy marriage, and again of Jaime 
— Jaime who was of a great family in Mexico, Jaime 
who was so good to her, Jaime who wrote such 
marvelous plays. 

She was still — that first year in Hollywood 
the Mexican wife, whose husband was the head 
of the family; it was not until "Resurrec- 
tion" brought her name into electric lights 
that Dolores began to mention her career. 





Below is Jaime Del Rio, at the 
left, with his former wife and 
Edwin Carewe, upon a vaca- 
tion. At the left, the Del Rios 
together; and above, Jaime, 
as he was at the last, alone 



They were together always. In 
order to be with her every day, and 
not d-'e of ennui, Jaime Del Rio 
ictually took the job of script 
^ clerk on her pictures. One 
'.'Vx would have to be a Spanish 
gentleman, with centuries of 
dignity behind one, to realize 
just what a sacrifice of pride 
that meant. Even Holly- 
wood, which has no subtleties 
or sentiment, spoke of their 
affection, and sob sisters 
from the newspapers shed 
inky tears over "this one happy 
movie marriage." 

But Jaime Del Rio must have 
nown that their happiness was 
in danger long before his young 
wife realized it. He had only his 
love with which to fight Holly- 
wood and the flattery of new 
friends, the bright lights and 
praise of critics and the swift 
_ {Continued on page Q/) 



31 




c^ Stroke of Jjick 



Russell Ball 



For Renee Adoree, of course, for she is 
not one to have neglected patting the 
rabbit 's hind foot. But even more so, 
to our mind, for the bunny himself — . 
or is it hareself? 



rdome 



The Back-Slapping of 

Hearty Hollywood Gives 

Nils Asther Acute Nostalgia 

Bv CEDRIC BKLFR.'\GE 



" IGHT one interview the admirable and hand- 
some Nils Asther?" one inquired of the 



^ Y J_ Metro-Goldwyn press gang, just to show that 
one didn't want to do anything behind its 
hack, clandestinely. 

"One might not," came the stinging reply down the 
telephone. "Absolutely not." 

So that it was with a thrilling little hope of hearing 

some unprintable comments on Hollywood in general, 

and the studio in particular, that one lifted the receiver 

again and said: "Drexel 7000. Mr. Asther's apartment, 

please." 

Mr. Asther 

was just 

moving 




You might think, when 
Nils Asther comph 
that life in Hollywood 
is too wearing, that he 
had in mind such 
scenes as that with 
Greta Garbo — above. 
But, no, it's the bruis- 
ing kind of good-fel- 
lowship exhausts him 




from the 
Ambassador 
into a furn- 
ished house m 
the quiet hills just 
above Hollywood 

Boulevard. Press gang or no press gang, he would be de- 
lighted to receive one as soon as he had moved in. 

One dropped in at the green-shuttered, cottagey house 
two afternoons later to find that the press gang's fears for 
Mr. Asther's tact were greatly exaggerated. The entirely 
admirable and handsome Nils said nothing 
that even a child could not hear without 
blushing. He was deferential toward Holly- 
wood. No doubt the place was all right in 
its way. It meant terribly well. Its ladies 
were of a charmingness! Everyone had 
been extremely kind. Only one thing spoilt 
the perfect picture. 



HE D RATHER BE ELSEWHERE 



H^ 



E didn't feel at home in Hollywood. 
In fact, to be frank, he didn't like 
the place. He d rather be back in Europe. Perhaps he 
was just being perverse about it; but there it was. 

"And when are you planning to return home.?" one 
ventured. 

"I don't know. It depends on so much." Yes, he speaks 
English as well as that; and five other languages, including 
two of the Scandinavian. " I talk with Mr. Schenck about 
it and he promise me at least a holiday at home after 
I finish with Greta Garbo in 'Heat.' Shall I re- 
turn to Hollywood.?" He shrugged his shoulders 
as if to ask forgiveness for his uncertainty. "I 
know not. I receive offers from the British 
International and from Germany. Yes, 1 
would like to take them." 

"But would you give up all the dollars 
that are Hollywood's without a qualm.?" 

"What are these dollars.?" he said, 
indicating with a wave of the hand the 
{Co7itimied on page 106) 




DontG/b^// 



Let the Present Screen Players Have 
Some of the Opportunity In the Talkies 



By DOROTHY DONNELL 



arriving with contracts in their suit-cases, signed often by 
the producers, sight unseen. The talkies have over- 
turned the picture industry. They have brought in new 
technical methods, new studio equipment, a new type of 
scenario; and now they are threatening 
to bring in a new corps of players. 

ONE STAR IN THREE THROUGH 



VARIETY, in a recent state- 
m 



ment, claims that 
thirty-three per cent 
of the film favorites are 
out already or 
on their way 



FOR more 
t h a n 
eighteen 
^u: 



years this 
magazine has been 
the loyal friend of 
the screen players, 
are proud to claim a share 
in the making of many great 
screen careers. Like an indulgent "" 
parent we have watched over the stars' first 
faltering steps to fame, praised their baby 
efforts, advised them as wisely as we knew hi 
scolded their faults now and then, affectionately 
loved them and been proud of them. 

Why, we have seen Mary Pickford and Bebe Daniels 
and the Talmadge girls and Jack Gilbert and Dick Barthel- 
mess grow up through measles and grammar school and 
lost front teeth. We have held Dolores Costello on our 
editorial knees; we knew Gloria Swanson when she was 
a fat little bathing girl, and Valentino when he was a for- 
lorn extra boy instead of the greatest lover of the world. 
We were among the first to welcome Pola Negri in our 
pages, and Vilma Banky and Colman and Novarro and 
all the other boys and girls from foreign shores. 

But now, in behalf of our proteges, the motion picture 
players, we protest. Our friends are in trouble. Powder 
and make-up cannot hide the traces of tears on famous 
cheeks these days; and mascaro does not veil the worry 
in famous eyes. One moment they thought themselves 
secure, happy in their success, beloved by fans; the next 
mornent they find themselves in danger of losing their 
livelihood. 

Hollywood is filled with new faces. By every trans- 
continental train the stage players from Broadway are 

34 




out because they cannot 
qualify for the new de- 
velopment of the screen. 
Jesse Lasky has announced 
that hereafter all of his talk- 
ing pictures will be made 
by casts of stage-trained 
actors. This would exclude 
many of the players on his own 
lot, such as Buddy Rogers, 
Clara Bow, Florence Vidor, Gary 
Cooper and Fay Wray. Samuel 
Goldwyn prophesies in these words of 
doom, "Two years from now fifty per 
cent of the players now appearing in pictures will be off 
the screen. The talkies will bring this about. They will 
sweep away a large proportion of players who would have 
stayed had the screen remained silent." 



All to 



BROADWAY 



We protest. 

We protest for the sake of the picture business as well 
as for the sake of our friends, the players. We protest 
in the name of the ten million movie fans who go to the 
pictures every day because they love the different per- 
sonalities of the screen. 

Must the talkies drive out the old favorites, the stars 
who have made the great picture industry out of a 
catchpenny amusement device.'' Have the present 
players in Hollywood no voices.'' 

Paul Bern, a director, says 
that stage voices are not 
adapted to the microphone 
without training. The 
stage actor has 
learned 
throw his 




\()ice so that it 
will be audible to 
the farthest seat in 
the topmost balcony. 
When he tries to do the 
same thing in front of the 
sensitive sound-recording 
device in a studio, it is 
ruinous. More than once, 
already, the delicate mecha- 
nism used m making talking 
pictures has been shivered to 
bits by the vibrant tones of Broad- 
way players. And if stage voices 
must be remade for talkie use, why not train the voices 
of the movie stars instead .' 

But that is not the only difficulty of using stage actors 
in the movies. Frank Turtle, another dircictor, tells of 



trymgout a 
veteran stage 
character man 
for one of the 
parts. The actor 
stalked out onto the 
first set with all the 
tricks and gestures which had made 
his reputation on the stage and 
spoiled the scene. Stage technique 
is a very different thing from picture 
technique. The timing, the camera 
angles, the movements suited for 
camera reproduction must all be 
learned from the beginning by a 
player coming from the theater. 
The Broadway horde pouring into 
Hollywood will have to be trained in 
the ways of screen registration which 
Hollywood players already know. It has cost millions in 
time wasted and film ruined to teach them camera require- 
ments. Must this costly training be thrown away.'' 
We protest. 

We protest because we believe that a screen personality 
is more valuable even in sound pictures than a stage voice. 
Many Broadway favorites have already tried the movies 
and proved that they have not this screen personality. 
Eddie Cantor was a flop in " Kid Boots." He did not have 
a photographic face. With the addition of the voice he is 
more like the Eddie Cantor that Broadway loves, but 
our own Lupino Lane, a veteran of a hundred slapstick 
comedies, is here on the ground waiting this very oppor- 
tunity. Many of the present movie stars came to the screen 
from the speaking stage. Most stage stars would have 
come into the movies long ago if they had screened well 
enough. Now they are coming willy-nilly. And they are 
taking parts in pictures which might be filled just as well 
by our own Hollywood players. 

FACING A FAN FAMINE 

WE protest. We believe that we know the fans who 
make up the movie audiences. We have been writing 
a magazine for them for eighteen years. We know that 
they go to the movies to see the Tom Mixes and the Harold 
{Continued on page 124) 

35 




JnajCJ 



ut 



Gossip of the 



De Barron 
Vienna, famous already for baking and Banky, contributes 
another candidate for world-wide screen popularity in 
Robert Castle. His appearance combines something of 
both that of Richard Barthelmess and Buddy Rogers 




npHE Los Angeles reporters put in a busy week trying to inter- 
view Jack Barrymore on the subject of his marriage to Dolores 
Costello, and Jack put in an equally busy week not being interviewed. 
Finally the press agent on the United Artists lot came to him on the 
set and drew him aside. "Honestly, Jack," he said in agitation, 
"you'll have to tell me something to say to them." Barrymore re- 
flected. "Say to the gentlemen of the press," said he, "that Mr. 
Barrymore turned his profile to the breeze and remarked, 'Blah.'" 
And he strolled away. 

Ah, There's the Tub 
■\X7HICH reminds me of another Barrymore anecdote. 
Like many geniuses. Jack is notoriously untidy. His 
brother Lionel was asked whether he had seen "The Royal 
Family," based upon the Barrymore clan. "Yes. Very 
interesting," said Lionel, "quite lifelike. I could recog- 
nize most of the characters. But one thing puzzled me. 
Remember the scene where the woman who is sup- 
posed to be Ethel says to the man who is supposed to 
be Jack, 'Hurry upstairs and get your bath before 
■j««|~» dinner'.? Well, what I don't quite understand is 
^^^^ where the author of the play got the idea that Jack 
ever takes a bath." 

Anything but Candy, Though 
OUSTER COLLIER and Buster Keaton came out of a 
movie show the other night and immediately acquired 
a cohort of worshipful small boys who watched their film 
idols breathlessly. Buster Keaton stopped under an arc lamp 
to light a cigarette. "Oh, gee," wailed one boy. "Lookit. He's 
quit smoking the kind of cigarettes the ad says he smokes." 




If it brings anguish to Jack Warner — in the straw hat — to pay Al Jolson 

one of the largest salaries in filmdom, at least you'll never get him to 

admit it before a camera 



Separated from Kenneth Harlan — and i 

Mormon. But only for the sake of art, ir 

becomes a member of the Brighai 



DW Marie Prevost has gone 
"The Exodus," in which she 
Younger generation 




or I VCUS' 

Stars and Studios 



Speaking of Pat Replies 

"\A7HAT is your parrot's name?" we asked Louis< 



Dresser. 



mother of the hostess. At the close of the party, as she was saying 
good-night, she beamed up at Jack. "I'm so sorry," she confessed 
"but I didn't catch your name." 



Shall }f'e Enjoin the Ladies? 
"'^JW'HAT she needs," said the wise-cracker, discussing th 
domestic difficulties of the wife of a handsome leading 
man, '*is not a divorce but an injunction." 

Interlocksmiths Laugh at Love 

TT was a very emotional scene. The lovers were preparing 
to embrace, the microphones were quivering overhead to 
catch the beating of their hearts. "Interlock," shouted the 
director. John Loder took Ruth Chatterton in his arms and 
held her in a tight embrace. "Just a minute, please," called 
William de Mille, the director. "We aren't ready yet." 
"But." protested John, 'T thought you said — ." The di- 
rector grinned. "Interlock doesn't mean what you think. 
It's the signal to the cameramen to synchronize with the 
recording apparatus." 




Do you wonder why Charles Morton — above — breaks out in this 
violent rash of delight? It's simply because, after playing oppo- 
site Janet Gaynor in "The Four Devils," he's just found out that 
he will again appear in her newest picture, "Christina" 




Even yachting in this country has gone dry. Above, Eddie Nugent and 
Raquel Torres are taking a trial ride in the new land-cruiser which Jack 
Young recently built. It has a kitchen and four other compartments 



Dorothy Gulliver doesn't agree with W. C. Fields' policy of never giving 

a sucker an even break. And Sheba, Shetland and two weeks old, 

appears, between swallows, to be grateful 





All the Gossip of the 



Great Caeser's Host 
ARTHUR CAESER, Fox scenarist, author of "Napo- 
leon's Barber," relates how he went to see George 
Bernard Shaw in England to get an interview. The famous 
author regarded him curiously, looked at him from all angles 
and then pointed to his rose garden. "Would you mind 
walkmg around the garden for a little while," he asked, 
"just till I get used to your face.?" 

Maybe They Mean Accent 
pTROM "The Film Weekly," a British 'publication: "I 
hear," says Temple Bar, "that the American public 
is demanding the English accent in talking films. I think 
the joke lies in what they mean by accent." 

Deformity by Proxy 

nPHE handsome leading man was in a pet. "What's 
the matter.?" a friend asked. "That wretched di- 
"He called my double 



Speaking of winter sports, here are two in the persons 

of H. B. Warner and Monte Blue, out for a drive in the 

mountains where it's a mile above sea-level and ten 

below zero 




It just goes to show that French boys will go to almost 
any length for an education. Paul Guertzman, im- 
ported recently from Paris to Hollywood by Jesse 
Lasky, walks a mile and a half to school every morning 



Shy but shapely; and Charlie Chase — at the right — in 

the bathing suit and in disfavor with the cop, seems 

about ready to change the stripes he's wearing for others 

more official and less seductive 



rector!'' fretted the leading i 
knock-kneed." 



So Does Walter Winchell 

QECIL DE MILLE refuses to refer to the talkies as 
the cinema. It's the chinema, he says. 

Flu, Common 

'T^HE recent epidemic of flu in the movie colony has brought 
in its crop of cracks. Lane Chandler, who essays an oc- 
casional flyer in the market, was having his temperature taken. 
"Your fever is a hundred and two," said the nurse. Lane 
opened his eyes wildly. "When it gets to a hundred and three, 
sell," he gasped. 

Felina 
TINA BASQUETTE was introduced to Norma Talmadge 
several times, and each time Norma acknowledged the 




Stars and Studios 

intn)diiction as if she had never seen Lina hcfore. Finally Lina got 
annoved. The next time someone said to her "Oh, Lina, I want 
you to meet Miss Tahnadge," she gazed at Norma blankly. 
'■()h, how do you do?" she said. "I've heard about you. Yi 
have a sister Constance, haven't you?" 

Burrymore in a Seal Role 

JOHN BARRYMORE was showing someone a scene in 
his latest photoplay. "This is me and the trained 
seals," said he, pointing. "The one nearest is me." 

.Vof White-Hot 

AND speaking of the flu, the First National director of 
■^ the latest Alice White picture was astonished to see 
the young man who had just finished a scene with Alice 
take out a pocket thermometer and take his temperature 
as soon as the camera had stopped grinding. But it wasn't 
what you think. He was only worrying for fear he had the 
flu. 

Scenting Mischief 
"LJOLLYWOOD is grinding its teeth ever since the visit 
of the soft-spoken perfume salesman who took the 
stars aside and whispered that he had some remarkable 
French perfumes which had been — well — er — you know — 
smuggled in; and he could let them have it very cheaply; a 
thousand dollars' worth for only five hundred. Reginald 
Denny planned to make this a scented Christmas for all his 
friends, until his valet dropped a bottle of the priceless stuff and 
a strong odor of barber shop bay-rum filled the room. Rushing 
to the telephone, Reggie called up the Hollpvood police station 
and told his hard storj- — without much hope of help until he 
heard a muffled groan at the other end of the line, "We'll do all 
we can to find the fellow for you, Mr. Denny," said the chief of 
police feelingly. "He deserves to be punished. W^e'll put every 
{Continued on page lOj) 




Those who contend that movie stars are never appro- 
priately dressed should not overlook the walking cos- 
tume of Alice — above — whose furs, like herself, are 
White 





Schoenbauni 

After Richard Arlen's scalp is Bobby, the ring-tailed 
monk. But in an entirely friendly fashion. He shares 
the heroic honors with Dick in "The Four Feathers" 



Boudoirmth and comfort: Nancy Carroll believes 

stoutly in both. Hence the negligee of crimson velvet, 

trimmed with a triple row of white marabou 



^ane Qomes Qlean 



Miss Winton Reveals 
Not Only Where 
She Came From 
But Where 
She Wants 
To Go 




By 

HERBERT 

CRUIKSHANK 




ready, 



f ANE," said I, "why not confess all. 
Make a clean — er — bosom of it. 
You'll feel so much better when 
your conscience is not haunted day 
and night by the terrible fear that one day 
the awful truth will out. The public, your 
public, has the right to know the worst. 
I'm sure the loyal fans, the Lions, and the 
Elks, will forgive. Even love you more 
for your courage in unburdening your heart of its burning 
secret. Come, my poor misguided girl, confession is good 
for the soul. The world is waiting." 

"But Reverend — Reverend Davidson, I can't, I can't. 
There's nothing — truly nothing." And Jane Winton, 
Hollywood's girl-with-the-green-eyes, laid her almond- 
white hand on mine. Oh, yes, we fan magazine guys get a 
break like that every once in a while. You don't think we 
interview the stars just for money, do you.? No, no. Art 
first, always. 

"Now, Jane," I soothed. "Come, come, this is Uncle 
Geebee speaking. You wouldn't fool your old uncle, A mured, in a voice like summer zephyrs sighing through 
would you.? Why everyone knows that movie stars have Southern palms. " 1 thought the past was forgotten. Must 
confessions to make. How do you expect the confession- I suffer always for that one innocent error.? Does the 
magazines to stay in business.? You may as well tell all world never forget?" She rang — wrung — her hands in a 
before Hildy Johnson gets you on the front page." frenzy of regret. Then suddenly brushing the diamond 

I saw the terrific struggle which was taking place in the tears from the emerald eyes, she made her decision, 
soul of this wonderful woman. Her eyes, shadowed now "Verj^ well, then, you shall have it. Tell the world. I 
by their frmge of smoky lashes, were pools of emeralds shall count upon the Heart of Humanity. I know the 
in a mystic setting of ivory shot through with roses. An public will hold me blameless." 

under lip which might well cause And then they came. The 

dynasties to totter, was itself °°^^ J^"^ ^["*°" accomplish twice as much as other portentous syllables that were to 
■ • \ ^ 1 1 actresses? The answer is yes, she even gets two por- r, r ^i -^^i i -jj ^ r 

exquisite y tremulous under traits taken at once. At left and right are Jane as she blazon forth the hidden secret of 

stress of her emotion. looked in the "Follies" {Continued on page g4) 

40 



In dashing away from the office, as 
we journalists call the office, I had for- 
gotten my reporter's note book, spe- 
cially designed for gentlemen of the 
press. And also my pencil and bib. So 
with the presence of mind peculiar to 
newspapermen and O. O. Mclntyre, I 
borrowed a pencil from the waiter and held 
poised over the tablecloth to dash down the— 
manner of speaking — meaty words which should tumble 
from Jane's adorable lips. I knew she would tell all. And 
by the way, that reference to the waiter needs an editor's 
note, as we boys in the profession call an editor's note. You 
see, Jane and I were in the Montmartre, 6757 Hollywood 
Boulevard, tearing a herring together. I mean tearing a 
herring apart together, or together apart, or — oh, anyway, 
we were having luncheon. 

THE WOMAN PREPARES TO PAY 

I NEVER thought it would come to this," Jane mur- 



■iJ^ 




In Hollywood 

As exemplified by Sue Carol. She put off as long 
as possible the ordeal of retiring — until the ordeal 
of not doing so became too much for her. Which 
proves, of course, the soundness of that thing 
about bedder late than never 



e 




sing Brown Photos 




FATTY 

Everybody Who's Anybody In 

Pictures Has Helped Roscoe Arbuckle 

Put The Plantation On The Map 



U'^ 

k 



i) 



FOUR months ago Roscoe (Fatty) 
Arbuckle crawled into Holly- 
wood, sick and discouraged. There was a 
hurt-dog expression in the small blue eyes 
which only seven years before had made all of the 
eyes of the world crinkle with laughter. 
He had his car and one thousand dollars. 
Today he is sleek, prosperous and happy. Four 
months have metamorphosed him from a 
trouble-haunted failure to a successful 
cabaret owner. 

All because the motion picture 
colony of which he has been a 
member since 1909 has put its ^' 

cooperative shoulder to the task '^ 

of "Plugging for Fatty." 

Not that he expected it of them. 
He didn't expect anything of any- 
body, this discouraged, heart-worn 
Fatty. For seven years he had been trying 
to get away from his trouble. To make 
enough money to pay the debts incurred by 
this trouble. To remember that life does 
offer compensations even to those who get 
into trouble. (Of course, nobody ever speaks 
of that seven- 
year-agoSan 
Francisco 
incident 



By RUTH BIERY 




as anything but "Fatty's trouble. "j 
He'd been on a vaudeville tour; been 
trying this way and that way to accumulate the one 
hundred twenty thousand dollars Joe Schenck had 
loaned him during and after his trouble. But in 
some towns — oh, it had been a pitiful seven years for 
Fatty. 

A real estate agent came to see him. 

"You are going to open the Plantation," he 
stated. 

.\i buckle smiled. The smile of a man 
to whom life has become merely a 
matter of vacuous smiling. 

\* CAME THE PAWN. 

UT I mean it. You'll need 
three thousand dollars." 
Three thousand dollars! He had 
one; he pawned his car for the missing 
two thousand. 
And right here — from the very day he 
grabbed at the only life-saver which anyone 
offered — the motion picture people burst into 
the picture. Word went around, as word does 
go around when 
anyone in Hoi- T 
lywood side- 
steps in any 
{Co?itinued 
on page go) 



B 





Qood ^een ^e/k 

It's beginning to look hopeless, trying to get Belle Bennett to cheer up. Here Mr. Fair- 
banks has gone and made her the queen in " The Iron Mask." And after all the poverty and 
heartbreak in "Mother Machree," you'd think she'd smile just once for the gentleman. 
But she won't. We declare, we just don't know what to do. She's going from sad to worse 




The 



Love- 



Wide-eyed — as she was 
when she first came to 
Hollywood: Virginia 

Bradford just above; and 
below her in order, Frank 
Marion, Ronald Colman 
and Max Marcin, who 
has written nearly as 
many plays as Willard 
Mack 



EVERY woman has a 
love-life. It is as 
much a part of her 
soul-education as 
the three R's are a part of 
her mental preparation 
and I don't see why it 
shouldn't be discussed 
just as frankly. If the experiences of 
the screen people can help other wom- 
en to understand and analyze their 
heart-joys and their heart-sorrows, 
help them to diagnose the men who 
cross their educational and mental 
horizons, I believe it is their duty to do it. 

I wish this love-life of mine would prove 
so startling that producers would realize I 
have a soul and give me r61es to portray 
women with depth and fire and courage. 
I am an ingenue on the screen. My baby 
face, my seeming innocence, appear to 

f>igeonhole me as a type. Yet my experiences in 
ife, my heart experiences, should, I believe, enable me 




to play any type of woman. 
Mer' ^ 



Every man who comes into the heart of a 
woman answers some direct need in that woman. They 
are the stepping-stones upon which she metarnorphoses 
from girlhood to adolescence; from adolescence to the 
first bloom of womanhood; from early womanhood to 
sophistication. And every woman who really lives must 
take all of those steps, with their inevitable joys, their 
inevitable sufferings, if she is to be a well-rounded, wide- 
awake, capable person. 

THE MAN IN MEMPHIS 

I WAS engaged at sixteen. My first lover, a middle-aged Irish 
lawyer-politician, was the answer to a young girl who had nothing 
to do but get married. In Memphis that's all there is for a girl 
unless she wishes to take some maudlin, unimaginative, from- 
early-morn-until-late-at-night position. How many girls there 
are m this country who marry because a man seems to be the 
only protection which life offers! 

I had been engaged only a short time in Memphis when 
I began to feel strangled. It seemed as though a vise com- 



At Twenty-Three She 
Feels She Has Had All 
the Experience a 
Woman Can Have 



pressed my entire spiritual being. I'd wake up in the 
night with a mental gasping for breath. "Is this all — 
„n>" I'j inquire of the blank darkness around me. 
I couldn't bear to see a bird in a cage; it made 
me physically ill to see a dog tethered. I was 
too young to analyze these feelings 
then, but now I know it was because 
the bird and the dog represented 
to me my own mental, tied-down 
condition. I wasn't marrying this 
man for love, but as an outlet, an 
antidote for an unmarried condi- 
tion. I'd always had a yearning 
for the stage; always wanted to try 
my wings in acting. Finally — and 
t took courage and daring and, heart- 
ache to do it — I broke through the 
fetters which seemed to ensnare me and 
came to Hollywood along with the thou- 
sand upon thousand of others. 
Understand, I do not advise 
Hollywood for the young 
girl who is unhappy; I ad- 
vise her against it. Only 
one girl in ten thousand 
h^s a chance to make her 
living in this 
city. I mere- 
ly state 
that 
did it. 




hifcStory 



of 



Virginia Bradford 

Js told by Virginia Bradford 
TO RUTH BIERY 



MY AGE OF INNOCENCE 

WHEN I arrived, I was so innocent that I didn't know 
that cabaret audiences ever included nice people; I 
hadn't even been to a theater since I was a small young- 
ster. I was insatiably curious; almost incurably 
romantic. I thought all men, outside of Memphis, 
were Sir Galahads or Sir Walter Raleighs; all women, 
Jane Addamses or Florence Nightingales. Since this 
IS a love-life rather than a life-story, I skip over the 
professional disillusionments — the women who helped 
or betrayed me — and take up only the men who in- 
fluenced me. After all, it is the men who are really the 
turning points for a woman. 

James Cruze gave me a test. Alice Day 
and I both took our first test the same 
morning. I went into Mr. Cruze's 
office to ask him how it developed. 

"Lovely," he answered. 

"Then I get the part?" 

"No." And there were tears 
in his eyes when he explained 
that many things entered 




mto securmg a part 
besides the suc- 
cess of the test 
you have tak- 
en. He was so 
kind, so help- 




She knew what she wanted, did 

I Virginia, and although she had 
met — here they are, beginning 
at the bottom: Charlie Chaplin, 
Paul Kohner, James Cruze and 
Raymond Griffith — she married 
the man she's with at the top. 



ful, so encouraging. 
" Don't worry!" he 
told me. "You have 
something. You will suc- 
ceed." He went out of 
his office with me, slipped 
his arm around me, asked 
me if I needed to borrow 
money. 

MISLED BY KINDNESS 

^MBli .' ' T WORKED as an extra on that picture. 

^P^^ Jl He used to watch me. He was the 

W first person in Hollywood to be really kind to 
me. I — well, I fell in love with him. There was 
no reason for it. He never asked me to go any- 
where, never paid any definite attention to me 
except watch me and watch me. He had just been 
kind, and kindness to me at that time meant I must 
love the person who gave it. Then I learned he was 
getting a divorce from Margaret Snow. I thought may- 
be that meant — I wrote to my Memphis man and told 
him I loved someone else and asked him to release me. He did — -and 
discovered that James Cruze was to marry Betty Compson. 
For the first time in my life my heart was really broken. If it 
hadn't been Jimmy Cruze, it would have been somebody else. Anyone 
who was kind and different and understanding. I know that now, but 
I did not know it then. 

My work was going badly; I was in a black mood. 
I thought that perhaps death was the only sensible 
solution. Then I met a man on a set who looked enough 
like Jimmy Cruze to be his own brother. He drove me 
home one evening. In two weeks we were engaged. 

How foolish! How youthful! How typical of an 

untutored, romantic woman! He looked like the man I 

{Continued on page lOo) 




There is historical basis for Kipling's claim 
that the female of the species is more deadly 
than the male; at least, there is if, in the days 
Pauline Starke— as a daughter of the vikings 
— recalls, daughters of the vikings were as 
charming as Pauline Star ke 



Pauline Starke As 
The First 




T^iqueen 



Th( " 

Scand^'/Y/. 



Of 



Apparently, the girls of today are not the only ones 
on the record who were quite able to look out for 
themselves. For, from Pauline's technique with 
the dagger, it would seem that if any boy-friend 
got too forward with her, it was simply good-night, 
Norse 



tier R^egrets to rvoyalty 



By HELEN 
LOUISE WALKER 



EUROPE ees so small. 
And there are so 
many peoples wit' 
titles. One cannot 
help knowing zem. Zey are 
eferjrwhere. Eet ees nossing — 
zat I have been — w'at you 
say? — engage' — to preences 
and dukes; zat I know ze 
keengs and queens. ^ 

"You see, I am a star in ■ 
ze theater and ze peectures. 
We are well received. We 
go to parties and meet all 
kin's of peoples. I wear ze beeg, 
ze gorgeous, dresses. 

"Eet ees ze 'ot cakes! Non.'^" 

Lili Damita was deprecating, 
almost apologizing, for the length 
of her list of royal and near- 
royal ex-fiances and "goot 
frien's." 

^'Oui. I have 
engage' t 
many preen- 
ces, dukes 
and vot- 
nots all ofer 
Europe," she 
smiled and 
giggled. "An here 
I am in zees 
Hollywood, a — 
w'at you say.? — a 
lady bachelor 
Whoopee!" 

"Whoopee" : 
apparently Lili 
favorite Americanism. 
She punctuates all her sentences with it, 
finding it the perfect expression for her 
overwhelming zest for life. 

And she finds life both interesting and 
amusing. Hollywood is funny. Pictures 
are funny. She laughs at the people about 
her, pausing to laugh just as heartily at 
herself. 

Meanwhile every man within range is 
taking one look at her and going all dith- 
ery. No wonder preences, dukes and vot- 
nots swarmed in her train abroad. If 
royalty is actually as jaded as we have 
been led to believe, she must have been 
quite a treat to it. 

Her verve is spontaneous. So many of 
these ebullient gals appear to turn their 
fire on and off as is expedient. 




Ju3t alx)ve, a snapshot of Lili with 
Louis Ferdinand, son of the former 
Crown I^nce of Germany. At left King 
Manuel of Portugal; at the right Prince 
George of England 



Among Other Things 

Lili Damita Might 

Have Been Crown 

Princess of Germany 

A POTENTIAL CROWN-PRINCESS 

OTHERS of wealthy 

sons had better keep an 

eye on them. For Lili remarked 

that an American "meellionaire" 

was "twice so goot" as a European 

"preence!" 

Her last engagement to royalty — 
\ dukes don't count — was with 
Louis Ferdinand, son of the 
Crown Prince of Germany. At 
least he was the Crown 
Prince before the late out- 
burst. I don't know what 
they call him now. 
Anyway, it was like this: 
"I have meet Louis Fer- 
dinand in Berlin," relates 
Lili, "when I 
am there to 
make a 
peecture, I 
meet heem 
at a beeg 
dinner at 
the Spanish 
Embassy. 
* ' He ees 
yong— about 
eighteen. An' 
he haf nevaire 
known any 
j'rls, only hees 
niother an' sees- 
ters. An' he ees 
not very strong; 
he haf a weak heart. So, you see it 
ees no wonder — what happened. 

"Well, we haf lonch together next 
day. We see each other very much, 
He ees a nice boy. Good looking and 
sweet. I am fond off heem. 

"Zen I go back to Paris. I live in 
Paris. My house ees there. I go to 
Germany only to make peectures, 

"When I go away, the Preence, 
he go to bed. He ees seek two, 
t'ree, mont's: I tol' you— he haf a 
weak heart. Hees family ees wor- 
ried, opset. 

"I come back to Berlin to make 

another peec-iure. The Preence get 

weir. Once more we are together 

very much. Lonch. Dinner. Dane- 

{Continued on page loi) 




Carol Lombard doesn't furnish it; she feels 
it, because now, after dwelling for some little 
time in the slapsticks, she has been" trans- 
ferred to dramatic roles. And after the ability 
she displayed in "Power," "Show Folks" and 
"Ned McCobb's Daughter," she can well afford 
to relax, with never another pie to dodge 



y^omedy R^elief 



T T 



TY 



irned 

slle Taylor 
Name Her 
lal Cracker 




WHETHER you like undressed facts or not you're 
going to get them this time. Bare facts. Nude 
facts. Tut, tut! 

You've all heard the expression, "No 
Foolin'." You've read it in interviews. You may have 
taken it literally. Bunk. It's been a figure of speech, a 
smart-Aleckism compared to what it means in this 
stripped story. This is no foolin', denuded and de- 
bunked. This is the goods with the frills and furbelows then I got down to cases. I explained that I was weary of 
ripped off and left lay. being lit'ry. Like Edith Wharton and Anatole France, 

I mean, I got fed up with this lit'ry stuff. Talking to you know. I was fed up racking my brains to truss up their 
some star or near-star and doing fancy writing about it. little thoughts and -isms and -osophies. I told her of the 
Taking the victim's opinions of love and It and Al Smith good old days when the job of an interviewer consisted in 



is HALL 



e wasn't going, to be 

nell said, "Interview 
, Gladys.?^' I didn't 
11 be delighted. So 
much." I blatted, 

felt that this passed 
the buck. I 'phoned 
interview you. You 
Tie. But you can be 
joing to. When and 



ESTELLE suggested lunching at the Elks 
Club. Now I don't know anything about 
Elks and I was taking no chances. She also 
said "Criminy, do I have to blah to you for an 
hour and a half.'"' I said, "It's as hard on me as 
it is on you, Sister; and nothing doing on Elks. 
We eat at the Montmartre. If you must bleat, 
I must eat." 

We met at the Montmartre. You can see, 
all you have to do is be a little bit firm with 'em 
and they'll give you the right of way. 

Estelle was vivid and regal and — but I'm not 

going to be lit'ry — and everything, in black 

■ chiffon velvet and white satin and skunks and 

the swell costume jewelry she wears with the 

Medicean air — but I wasn't fazed and I wasn't going to 

pretend to be. 

She said, "Are you dieting?" 

I didn't like the look she cast on my figger when she 
said it, but I piped up, "Not a chance. Famine is my 
moniker. Let me repeat: if you must bleat, 1 must eat. 
Let's go in." 

saw to it that the board groaned and was laden and 



and literature and motherhood and 
fame and weaving in fifty-cent adjec- 
tives and Woolworth adverbs — and 
all for what.? I made up what mind I 
have that the next time an assign- 



Among the several firmly rooted beliefs that 
Estelle Taylor has is that people who take 
baths are abnormal. Meaning cold baths, of 
course. And she doesn't like her orchids 
orchid-color 



mailing out a questionnaire to the 
prospect. A long sheet of foolscap 
neatly documented with such leading 
queries as "What is your favorite 

{Continued on page 96) 



50 




Dutch 



Jreatment 



That's what Janet Gaynor is 
getting from Charles Morton. 
And apparently she's not at all 
reconciled to the idea, in cross- 
ing bridges, of ladies last. They 
argue the matter out in their 
coming picture, "Christina" 

51 




[Wollywood 

The Importance Of 
How To Treat Guests 

BY HELEN LOUISE WALKER 



Surprise parties are thje usual thing in Hollywood. Few 
hostesses know they Sire to entertain until their guests 
arrilve to tell them 



ETIQUETTE— in Hollywood? You needn't act so 
surprised. We have a lot of it. And it is very 
involved, too. You have heard, no doubt, about 
the complications of life in diplomatic circles. 
About how important it is who sits at the right of whom 
at dinner parties and all that sort of thing. And military 
etiquette is involve^, too, they tell me. How many guns 
you should shoot, how often and how many times, when 
an admiral or forgfign dignitary or something arrives. Or 
maybe that's th^navy. 

Anyhow, thgre is etiquette and wetiquette, but I do 
believe that the Hollywood kind must be the very most 
difficult of all. 

So I have been studying up on it and I think I should 
write down the results of my investigations for all our 
puzzled readers. So in case one of them should arrive on 
a set unexpectedly or stray into a party — and I may a^ 
well say right here that it is better form to arrive in just 
that manner than in any other — he will know exactly how 
to proceed without embarrassment. 

NOT MAMMIED ONCE 

FOR instance, Blair Niles, the novelist, has been in 
Hollywood for five weeks, working on the scenario of 
her book, "Condemned to Devil's Island," for Sam Gold- 
wyn. And Mrs. Niles was really puzzled and distressed 
about things. So she came right to me. 

"I am upset, my dear," she said, plaintively, "be- 
cause you know I feel that I have not really been taken 
in to Hollywood at all. I feel that I have not been al- 
lowed to belong. And the reason I feel that way — the 
actual proof of my suspicions — is that no one, during 
my entire stay, has greeted me with wide-spread arms, 
crying 'Mammy!' and then given me a great big 
kiss. 

"From my observations, that greeting is a sort of 



password — like a lodge grip. It means 
that you are one of them. I did hope 
someone would do it to me before I left." 
I explained to Mrs. Niles that she was 
a Visiting Novelist and, as such, was con- 
sidered a Personage. Particularly since 
her stay was to be so short. 

We always, I added, put on our com- 
pany manners for Visiting 
Novelists. Partly because 
we are impressed by 
them. But more be- 
cause we harbor a sus- 
picion that they may 
return to New York 
and indite their im- 
pressions of us. It has been done so 
often. And in so uncomplimentary 
a vein. 

So we are inclined to be self-con- 
scious and get out the best linen and 
silver and polish up our most edu- 
cated-soundmg remarks when we 
entertain them. 



THE CEREMONIAL FOR 
NOVELISTS 

AND we make great haste 
. to buy some of their 
better-known books and, 
if we haven't time to 
read them, at least / 
peruse the blurbs on 
the covers. 

These things 
are recomintnded 





What a shock to 
this chatelainef 
making the grand '( I 
entrance, to find \ 
room empty 
except for one man. 
The rest had found 
where the food was 



as etiquette for Meeting Vis- 
iting Novelists. 
Of course, if they remain in our 
midst for a year or more and take 
to writing for the movies with con- 
tracts and enthusiasm, eventually 
we begin to feel acquainted with 
them and they may even be greeted 
from time to time in the manner de- 
scribed by Mrs. Niles. 
There is rather a fine line drawn between 
Meeting Visiting Novelists and Meeting 
Other Kinds of Celebrities — mayors and 
channel-swimmers and cardinals and foreign 
princelings. 



52 



Wetiquett 



Being Mammied; 
Invited and Otherwise 



For, after all, a novelist is probably going 
to write a story or two for the movies and 
make some money out of them, so there is a 
possibility that he may one day be one of us. 
Whereas, Other Kinds of Celebrities are 
merely that and therefore must be enter- 
tained in a large way. 

So we take them to studios and show them 
how motion pictures are made. 

That is, we don't actually take them 
round sets and let them view the actual 
process of making pictures. Our purpose is 
to entertain these people. And what with 
the arrangement and re-arrangement of this 
and that and two hours' waiting for a half 
minute's shooting, a movie in the making is 
probably the least entertaining spectacle in 
the world. 




w 



THE FILMLESS SCENE 

HAT we really do is to assemble all the actors who 
are not working at the moment and have them put 



If your party isn 't as good as < 
promises to be, they leave. If they're 
disappointed by the transfer, they come 
back for breakfast 



on make-up and some 



sort of costumes. Th( 
we get a camera without 
any film in it and an* old 
set and a director 
who is between pic- 
The actoi 
hrough 
scene while the 
director shouts 
at them 
through a 
megaphone 
and the cam- 
era grinds 
realistically 




Sliding down banisters 

is good for a dozen 

encores. The durability of 

costume is the only limi 

and the guests stand 1 _ 
patience and inquire politely 
what the name of the picture is 
so they can be sure to go to see it 
when they get home. 

There is where the etiquette comes 
in. You must know what to say. 

This, my dears, is the answer: "The 
working title is 'Love's Golden Flame'." 
And you add, hastily, "Of course, the 
title will probably be changed before the 
picture is released!" 

Which smooths everything over for 
everybody. Which is the purpose of all 
etiquette! 



Now that you understand the intricacies of Meeting 
Celebrities, I think I had better go on to explain about 
Parties. 

The chief difficulty with Hollywood parties is knowing 
when they start and prophesying when they will end. 

Often the hostess does not even know she is going to 
tures. The actors have a party until it has started and is well under way. 
Sometimes she is not even at home when it happens. 

The proper thing to do if you come home, tired from 
a day on the set or shopping or having a permanent wave, 
and find that a party has somehow assembled and gained 
momentum in your absence, is to 'phone the bootlegger 
and the caterer at once and then go on about your business. 
You can't be expected to break appointments just because 
a party has happened to you. They happen to anybody 
and you may just as well be philosophical about it. 

CONCERNING INTENTIONAL PARTIES 

BUT if you actually plan to have a party and invite 
people to it, then there are a lot of things to be con- 
sidered. 
^_^ For instance, you must be careful not to invit€ 

/ ^j both members of a newly divorced couple to the same 
— '-^ party. After one of them has remarried, then it is 
all right to invite them, provided you do not place 
them side by side at dinner. After both of them have 
remarried, then you can forget it. They probably 
have. 

But if both members of a newly divorced couple 
are bosom friends of yours — you must either have two 
parties or else you must send a handsome present to 
the one you do not invite. The one you don't invite 
will be mad at you anyway, but that is my recipe 
for procedure and I shall stick to it. 

If you have invited your guests for seven, don't 
expect them until nine. Do not even start to dress 
until eight. If you do, your make-up will get all 
{Continued on page qq) 




53 




Snow ^oolin 

This is the way Anita Page dresses when she goes in for tobogganing or other 

arctic frivolities. An ermine-trimmed toque and a muff, but no wrap about her 

shoulders. And she wears a skirt that is fur and above both the knee and the 

average in chic 



F 



or Crying, But Not Out Loud 



How The Grim Weepers Of The 
Screen Keep Emotionally Fit 

By CEDRIC BELFRAGE 



' OW much training every da;^ 

keep Gentleman Gene in a condition to knock 



necessary to 



TJ 

I I out all comers at any given moment.'' 
■*^ -^ No more, let me tell you, than Pola Negri 
needs to keep her flaming passion constantly simmering 
and ready to flare up any time the director asks for it. 

Pola has to knock out all comers — with kisses and'burn- 
ing glances — just as surely as Gene to keep the dollars 
rolling into her account at the little bank around the 
corner. 

Greta Garbo has to keep her straight left to the heart 
constantly on tap, or she is out on the draughty Washing- 
ton Boulevard with a big bruise where the Metro-Goldwyn- 
Mayer boot hit her. 

Dolores Del Rio must keep that Mexican fire always 
burning in her eyes, ready to consume such young heroes 
as the director may designate, or Uncle Edwin Carewe 
will want to know the reason why. 

Gene does it with shadow boxing, gym workouts, skip- 
ping, road hikes and sprints. How do Pola and Greta 
and Dolores do it? 

f How do they keep their emotions and passions alive, 
supple, ready for action.? Do they swallow sixty raw eggs 
a day, or what.-' 

Well, gentle readers, that's just about the size of it. 
And then, as the girl said to the soldier, some. Ah, Holly- 
wood, HoUj'wood! Oh, art! How many sins are com- 
mitted there in thy name! Or shall we call them sacrifices 
— sacrifices on art's altar? 

A DIVAN IS THEIR GYM 

jr?OR instance, many's the time you will find the 
JC stars prone on their Beverly Hills chints sofas while 
the distressingly sad notes of "Ramona" or "Laugh, 
Clown, Laugh" percolate toward them from the 
radio. Clutching at the hand of an equally 
affected, but less demonstrative young 
man, you will see the big mood and 
mazda woman of the shadow 
stage letting her emotions well _ 

up inside her. A half-hour of 
this every day is said by leading 
practitioners of it to keep the 
lachrymal glands in fine fettle. 
"Laugh, Clown, Laugh" is es- 
pecially valuable here because 
it exercises to an unusual extent 
the very necessary Pagliacci 
reactions. 

Another wonderful work-out 

for the tear-ducts, also keeping 

the risibilities titillated, is the 

""eading of magazine and news- 

iper articles about the movies. 

etiquette! 



Oft-times you may observe some famous star hiding his 
or her internationally-known map behind a copy of a fan 
magazine, while within the breast rages a veritable 
whirlwind of emotion. The first move on picking up the 
new periodical is to look hurriedly through for anything 
personal. Any remark about the eminent reader that is 
not in purely complimentary style gives a terrific jolt to 
the tear-ducts, and for at least five 
minutes a good scream may advan- 
tageously be emitted. Snapping 
out of this emotional crisis as soon 
as it is clear that the temperament 
is in perfect shape, the : 
probably be observed 
turning over the pages 
for similar remarks 
about the other 
screen notables. 
Hearty laughter is 
de rigueur on find- 
ing a statement 
that the star on the 
next set, who claims 
{Continued on page 104, 





Masked as Dons Dawson 
is — above — no one but 
her dentist could be cer- 
tain of identifying her. 
And by the same token, 
by the diamonds on her 
Pierrette costume, her 
jeweler would instantly 
recognize Leila Hyams, 
at the right 




DOMINO 

For Mardi Gras, 
Partially Efface 



Frankly, we don't b«- 
lieve we can conceal 
from you long the fact 
that the lady on the 
left is Mary Brian. 
But how about the ofte 
at the top of the page? 
Would you — be hon- 
est, now — have known 
without a guide book 
that she's Fay Wray? 



Well, well, and who can this man just a 
little higher up be? Can it be young Lord 
Beavertopper? It could except for two 
things: that there is no such person and 
that it happens actually to be Buddy 
Rogers 





Josephine Dunn — above 
■ — wears her mask where 
grandma wore her glasses. 
But you have to admit 
it's becoming. Now as 
to whom we have with 
us on the left, we don't 
know her name, but the 
initials are Dorothy Janis 



TABLES 

A Famous Few 
Their Faces 



Surrounded by girls 
like these, the fellow 
at the top of the page 
deserves at least credit 
for recklessness, ex- 
posing his heart as he 
does. But then Neil 
Hamilton always was 
ready to take a chance. 
As for the young wom- 
an at the right, dis- 
fxxised as part of the 
Spanish quota — let's 
end the suspense: Loi- 
etta Young 



It's about time, that's all we have to say. 
For when a girl is as pretty as Dorothy 
Sebastian — just above — is, it's only the 
part of kindness not to wear a domino after 
the first few minutes of the party 







--Ij^ 



„.-< *< «* 



^>i 



Two hearts with but a single thought. And it 's very literally a burning question among the 

gentlemen of collegiate age in Hollywood upon whom Mary Brian will bestow them, in token of 

her receptiveness to an engagement ring. Some people claim to know, but there 's always rumor 

for one more 



Those 
Reports 

The Little Girl Who 

Played Wendy Is Stepping 

Out. And Wow! 



B^- DOROTHY MANNERS 




M' 



At the top is Mary 
Brian with Buddy 
Rogers ; and intrud- 
ing upon their tete- 
a-tete is Biff Hoff- 
man, Stanford 
football star. 
Below, at the left, 
is George O'Brien; 



ARY doing little-girl things, Mary 
thinking little-girl thoughts, Mary 
acting little-girl roles: that's the way 
It used to be. 

But things are different now, as the air mail 
pilot says. Lately you hear about men and 
Mary — and Mary and men. All sorts of fas- 
cinating men, from Pasadena blue-bloods to 
California football stars, and on down to Holl}^- R i c h a r 
wood movie actors. 

Paramount's baby Brian is being turned out 
of her nursery into a raft of rumors and ro- 
mances that would do credit to the girls who have had 
sex-appeal all along. Wendy is not only growing up — 
she's stepping out. 

During the last year Mary has had six rumored 
engagements, and I think that is two more than 
Patsy Ruth Miller and a shade the better of Constance 
Talmadge. 

Mar\- is de\ eloping into a this 



I 

i 



As a last 3'ear's kiddi 
year's wow. With the 
advent of her nine- 
teenth birthday she 
hasevolved anew coif- 
fure that's twice as 
slick as the old one, 
and a complex that's 
equally devastating. 
Not that Mary isn't 
the same sweet girl 
she always was. That 
is the secret of the 
whole thing. She is 
just as ingenuous as 
she was the day Jesse 
Lasky signed her fresh 
out of Texas for Peter 
Pan. But now she is 
an ingenue in Paris 
models. A sweet little 
girl with a Sennett 




The studio people must have awakened '\ 
to Mary's new pattern themselves, for ; 
the day I saw her she was up in the ward- ' 
robe getting ready to make a test in a ^ 
low, backless and almost frontless, gown ; 
with a rope of pearls strung around her \ 
throat like Goudal or somebody. A ! 
couple of seductive earrings dangled i 
against her cheeks that are full and • 
childish. She looked like a baby Swanson 
all girded for action. She looked alto- J 
gether as a much-rumored 3^oung lady '.] 
should look, for that very morning the \ 
papers had carried a yarn of her engage- \ 
ment to a famous football player. '; 

"Oh, dear!" said Mary and patted an unruly curl at • 
the nape of her neck that just wouldn't lie like a sinuous \ 
knot. I had asked her about this strange new power over •' 
men and that was her answer. I guess it is pretty hard to * 
snap out of being a little girl all of a sudden, even if the 'j 
newspapers insist on your being marriageable material. \ 
She wiggled a little uncomfortably in the slinky black dress. 

___^_ She said she rather \ 

hated to see that re- j 
ported engagement in ' 
the paper. 

"Biff Hoffman and ] 
I are awfully good j 
friends and I like him \ 
a lot — but we aren't 
engaged," she quoth, ■ 
in the exact words of '. 
r.ll the other girls who ' 
have denied engage- 
ments. "Sometimes . 
these newspaper en- \ 
gagements come be- \ 
tween the friendship \ 
of two people. That { 
is why I hate to see \ 
them. After people ' 
start looking on you ^ 
as a romantic couple it i 
(Continued on page io8) :■ 

59 




MARQUIS PREFERRED 

yfN impoverished marquis places himself in the hands of his chef, 
VjI tailor and valet, incorporated, who arrange a match with a 
blonde heiress to vulgar American wealth, frankly in search of a 
title. But the Frenchman is in love with Nora Lane, a poor but 
pretty relation of his prospective marquise. Nora denounces him as 
a fortune-hunter, whereupon he leaves his wife, title and chateau 
immediately after the ceremony and ships himself to the Land of 
Opportunity. One year later, the lowly position of a book clerk 
having made him a better man, he meets again the girl he loves; 
and as there has been a divorce in the meantime, what is going to 
stop Frank Tuttle from giving us a happy ending? Adolphe Menjou 
is as you like him: suave, sophisticated, but not so world-weary as 
usual. Chester Conklin, as Adolphe's father-in-law, is a delight. 



WHAT A NIGHT! 

/UST as too many cooks spoil the broth, so may too many gags 
spoil a picture. This is proved by this latest Bebe Daniels pro- 
duction. It's too bad. Bebe and Neil Hamilton — in fact, the whole 
cast — are excellent; but who ever heard of a girl getting her finger 
caught in a fire hose and dragging it out of the windows, under 
doors, and what have you? What is supposed to be funny becomes 
merely ludicrous. Bebe's a daughter of the rich who turns news- 
paper reporter to catch her man. Her pet dog does as much news- 
paper reporting as she. Bebe's contract with Paramount is over 
and we can't blame her when we see them wasting her talents in 
this kind of over-done, supposed-to-be-comedy type of thing. How- 
ever, you might get a kick out of seeing just how far they can go with 
their over-gagging. Eddie Sutherland directed it. 




THE FLOATING COLLEGE 

/UST for a change, the movies here take us to school on the bound- 
ing main, on one of those round-the-world liners where students 
learn as they travel. There are plenty of slightly shop-soiled gags 
well done, including the nasty young gentleman who blows spit- 
balls at the professors. The story consists of a duel between Sally 
O'Neil and her sister, Georgia Hale, for the affections of Buster 
Collier, who is programmed as one of the instructors on the ship 
but does remarkably little instructing. Sally is the star of the pic- 
ture, so there is no need to disclose who gets Buster. She performs 
in a sprightly manner, looking youthful as to face, but otherwise 
suggesting that she should follow Molly O'Day to the operating 
table. Georgia Hale does her best with one of those parts that 
almost strangle themselves trying to be unsympathetic. 

60 



Kp 


■■H^K^^ 


Mfej 




p* * *■' 





THE OVERLAND TELEGRAPH 

ONCE again bold Tim McCoy rides forth for Metro. In the name 
of his art the fearless colonel puts the Indian sign on the villain 
and the Indian sign-language on the Cheyenne braves — incidentally 
making the world safe for the Western Union, or perhaps it was the 
Postal and Irving Berlin. The locale of the film is the wild, wild 
West, and the time long before Mr. Gillette made the world safe for 
shavers. To be more explicit, the action takes place during the Civil 
War. Tim, his heroine, and the Indians are the only ones in the 
picture whose faces are minus sundry forms of hirsute adornment. 
If you still get a kick out of groups of noble redmen responding like 
automatons to the commands of a movie director, perhaps you won't 
be more than slightly sleepy. If not, the picture may still be recom- 
mended as a sure cure for insomnia. It has the merit of being silent. 




Of Critics 



^An 





A U LV\S' MAN 

rHE highly satirical attitude of this film toward those things 
which the axeraye man takes seriously will not find favor except, 
perhaps, in the larger cities. William Haines appears as a dreadfully 
ordinary vouni; man whuse highest ambitions are to acquire per- 
sonality by mail and to get into the Elks. His wife, played by Jose- 
phine Dunn, is movie-struck to the extent of giving herself to an 
assistant director who swears she is better-looking than (jreta 
Garbo. Sam Hardy appears as the assistant director who takes 
everything the young couple possess, and he delivers a powerful 
performance. Josephine Dunn does well under the skilful direction 
of James Cruze, who has put some of his best work into the big 
emotional scene. The fans as a whole will probably not like Bill 
Haines in a characterization which will be labeled uninteresting. 





THE CASE OF LENA SMITH 

DRESUMING that director Josef von Sternlx-rg essayed the 
-* production of mass entertainment in this photodrama, he has 
missed the mark. Yet in every audience there will be tiiose who ac- 
claim the picture's excellence. It oflfers a certain \irility wliich is 
rapidly becoming the earmark of a Sternberg film. It is distinguished 
by the utterly excellent characterization offered by von Seyfifertitz, 
who steals all histrionic honors. There is, too, Esther Ralston; 
she evidences a depth of dramatic feeling which comes as a surprise 
after the bread-and-butter misses she has been portraying. The 
deficiencies of the effort include an irritating lethargy in tempo, the 
forced introduction of impressionistic camera shots — long since passce 
—and the terrifically bad casting of Jimmy Hall. The title is mis- 
leading. The tale is one of mother lov'e; it is not a murder-trial thriller. 




THE LITTLE COLONEL 

A SAD attempt to repeat Henry B. Walthall's success in "The 
■^ Birth of a Nation." Percy Knighten is no Griffith and stories 
of the blue and the gray have been laid to a well-earned rest these 
many years. The story centers around Richard Nelson, beloved 
little colonel in the Confederate Army. His son, in the service of the 
Union, is arrested as a spy when caught in the home of his Southern 
sweetheart. Lee surrenders to Grant just as young Nelson is brought 
before the firing squad: and The Little Colonel, rushing out to save 
his son, receives the fatal shot instead. A sob death scene and love's 
young dream, illustrated by George Maclntyre and Ethel Stone, 
conclude the picture. Such inconsistencies as the scene where young 
Nelson is so badly wounded that he faints from loss of blood, only to 
show up with no sign of a wound the next day, weaken the plot. 



CLEiR Till-: DIJ K 



DEGIXALD DENNY in a recent nucix . -, 
/V baln-talk. You can uell believe it .,n. 


V s, ,, ,,,' Milking 


I -11 ", 111 imenile 


manner in which Reggie skips and griiiMK- il 


, lu 1 IS ! iUst com- 


edv, which is reallv an ol<l-fashi..ne<l f.,M< 


\liM ikMi i.lentitv, a 


chase in a nightshirt, a iHih.tlx Ii. .Iil.x im,-, 


1 in,is(iuerading as an 


invalid, a pcrfectK sane |hi-. n t iki n l..i i N 


•' itu — \ou know the 


plot if you'\e ever bee n l.. Im.,1i - li-. ' \i . 


iinUss you're still in 


high school. It's ,1 bit diltjc iilt !■ 1 i" > 


. ,1 the places where 


you're obviously expected (o. 1 n 


IS the male nurse 


hired bv a rich aunt to accom])ai 


1 sea \-oyagc for 


his health, is funny — in spots 


as the girl for 


whose sake Denny exchanges i(I< m ' 


!■ lend, has nothing 


to do and does it very prettily. The titks \a 


> Irom silly to sillier. 



Current Pictures 




SINNERS IN LOVE 

ZLTERE is a quaint little museum piece which may prove interest- 
-fj- ing to lovers of the antique. Olive Borden, the passion-flower 
growing in rural mud, is sick and tired of it all and heads for the 
great big city, where she falls in with schemers who start using her 
as a tool. She hasn't had time to wear more than two or three of the 
most incredibly revealing evening gowns when she discovers that 
Huntley Gordon has just been playing with her. She gives him the 
air, but there is the most unexpected development — Huntley has 
learned to love herl He comes and finds her, and at her feet declares 
he'll give up the whole racket if she'll be his. Olive, the poor thing, 
also has a love-light in her eyes. Just to round it ofif, a dope fiend 
tries to bring about her downfall by luring her to his apartment; 
but the pitched battle ensuing ends in victory for Olive and purity. 
Huntley comes to bear her oft' to a sunlit garden where she may pass 
her time in resting and writing up her adventures for a soul-stuff 
magazine. Daphne Pollard is the only intentionally funny thing in 
the picture. 




MASQUERADE 

'T^HE silent version of this D. W. Griffith adaptation of " La Paiva " 
-/ is satisfactory, if undistinguished, entertainment. Its Movie- 
tone synchronization will include three songs by Lupe Velez, and 
should add to its interest. The plot is number nine from the filing 
cabinet, and deals with the woman scorned who hires an expert to 
vamp and humiliate the lover she has lost. The villainess is foiled in 
the last reel, when her employee and the hero do a papa-love-mama 
for the final fadeout. Jetta Goudal, one of filmdom's few fine 
players, is an easy winner of first honors as the revengeful lady. 
Lupe Velez, in the sympathetic role, displays bouncing, bounding 
vitality and a flair for boisterous farce which will delight the gallery. 
Henry Armetta enacts a bit so exquisitely that a few more feet of 
film devoted to his portrayal might have given him the picture. 
William Boyd is shorn of opportunity. Albert Conti and George 
Fawcett always merit mention. D. W. has told his story in a forth- 
right manner. It is disconcerting to learn that in the days of Napo- 
leon HI, Montmartre cabarets were advertised by mechanical signs. 




THE FLYING FLEET 

J 'HE generous co-operation of the Na\^ Department has endowed 
this romance of our sea-fliers with authentic background which 
materially enhances the entertainment value of the picture. It is 
not, however, a mere glorification of the naval aviator, but has in- 
dependent story-strength which enables it to stand firmly upon its 
own merits. There is an excellent admixture of drama, romance and 
comedy, skilled direction; and an exceptionally competent cast. 
The hypercritical may find a soupfon of improbability in two or 
three of the situations. And a watchful eye will discern the ever- 
present newsreel shots intercut with those of director George Hill. 
But there is no glaring defect to mar enjoyment. Ramon Novarro, 
in one of the most masculine roles he has thus far attained, is sincere 
and convincing. But Ralph Graves cuts another notch in his come- 
back gun by stealing this photoplay as he has pilfered others. Anita 
Page maintains her high standard and Eddie Nugent makes his bit 
stand out like the proverbial good deed in a naughty — or should we 
say in a nautical? — world. 

62 




THE DREAM OF LOVE 

TJ/^^^^ — brushing away the tears of joyful sentiment — I try 
rr to write of this latest picture of Fred Niblo's in stern, critical 
vein, I discover that after all I am only a movie fan. When I would 
find fault with it for being sheerest melodrama — illogical and old 
fashioned as a novel by the Duchess — all I can remember is Joan 
Crawford, more gorgeous than ever in her gypsy garb, Carmel 
Meyers seductive in her Parisian gowns, Aileen Pringle regal as the 
premier's wife. My critical judgment is warped by watching the 
ornamental Nils Asther in a dozen different uniforms that fit as 
if he had been poured into them. My realization of the picture's 
impossibilities is lost in gloating over the chance to wander for two 
hours with a crown prince through a gypsy love affair. The plot, said 
to have been drawn originally from the story of Adrienne Lecouvreur, 
is Graustarkian, with an ending that proves that movie audiences 
are growing up. A few years ago the two ill-matched lovers would 
have renounced each other, but now the girl calmly announces that 
she will become the king's mistress since she cannot be his queen. 



In Review 





nii: lADY 01 ill \.\( K 

'T^HF mor il of this is tint i girl nn> be a crook but lo\c w ill m ikc 
jL her pure in the 1 ist rctl— if she is as be-iutiful as Norm i she lui 
And also no m Utcr how poor i \ouii<j ni in in i\ bt he w ill Ihi oiiu 
rich before the tin il fulcout— It Ik 1- i- li iiu'-.i nu i-. j, Im u Mid 
Brown Normi thciiuinnlh 1 ul\ 1 1 > 1 i ii liln ilimiii 
ambilionof ill IomK puturc 1 ulu mill i i|i iiiu|in 

tough 0\erheiring i blukmulnu ^dtnn In ii\ i- il i w 
crooks — 1 owell Micrman ind (.wtn lit -nul llilil\ \ ilN dII 
with their roll ifttr -x crving duet with ( wen win h i- i^ lniMi\ is 
anything \ou hue seen for i long while Omi ilu -Ik iil k i n[ \ 
good looking \()uni!; nun she re xdb i Ult^nni sih il nu 't inillioiis 
She then e ipti\ itts him in slmit )i \i nl\ i I 



eel hill 



guileless 
awakfns tlu bet 
Norma ni ikeb 
tough sub titles 



h— pl 



mI 



. loi 



S'L 



I III 01 1 K I s( \\i)\r 



I ento 



nd Mil 
loiled n 



tspi 



linj, I'lullis np 
Hrdiitf 1 cnton 



, thiiia but respect ible 



for litiLiids md Miss 
tciv element \II uefineK eoneeived uid fineK e\( < uted ( Ii ir icteri 
/itions We icKise taking 1 look at this oiJiis p irth bee uist Pli> lbs 
II uer is m it pirtlj bee uisc it iinrks H itton s return to drimi — 
liis led foite — partly bet uisc it actudl> his j,ood subtitles but 
pi lilt ipdl> bet luse it ere ites i preeedent m the mo\ les by showing 
I newspiper ofhce is it ieill> is Til en as i whole it is one of 
those iine\pectedl> sjood jiitees of entert unnient tli it one really 
should 111 ike I point of seeiiij. 




pit It 1 



UK 111^ twite It the 
liking in order to 
t wiieii he diseovers 




iiin won 01 w \i i ^i ni i 

/F \ou c-in bebc\c th it \\ ill '-trcct fin in( itis do llit 
in shirt sleeves and take oft their shoes diinn^ 
'Change to air their corns \ou will h ne no difiu ult 
the r«st of the picture Bincroft s burK ippe il is lo- 
caricature of the first half though he bet onus mo 
later. The onlooker is shown how absiirdh 
huge fortune in Rocky Mountain Copper 1 
must have lieen thought up by i seen irio v 
in stocks IS confined to 1 ibert\ Bonds l')\ 
tickei t-ipe biilKing a miiltimilliomirc in 
buy to his broker, the wolf makes mill.ons. 

that the wife whom he adores is carrying on an affair with his 
polished business partner, he barks another order to sell and locks 
Himself, his wife and partner into a bedroom while the market 
crashes and ruins them. Baclanova plays the hungry-eyed wife of 
the uncouth financier. Paul Lucas gives a tailor-made performance 
as the false partner. Nancy Carroll and Arthur Rankin have bits. 



r ^DFR ijin SOI TnrB\ cro'^s 



II 



IS f,C 



White 
in their 
in tipu 



1 Its 



I HolK 

Im nu I wmi in Ijist ind l 
(l(i(s ^, i\ u( II without 1 
M loii 111 luio ( ime this 
ok to their I lurelb He is 
nd possesses M lorian It 



[iredeeessors in tint i( bo ists m ill nit 
wood sheik or she bi to l( ncii tlu loit 
reviewer afterw ird I must insist th it i 
\htik Ilollyivoodianw^ 1 oi il I'ltiti th 
way the John (.ilberts woultl h ive to li 
vivid dramatic dentilly imgnifirent 

The entire cast is excellent, each „ne a rc.nemberablc tj pe, the only 
objection being that we see too little of them. For the rest, there is 
the usual somewhat moderate plot of these pictures having to do with 
warring tribes, the hand and heart of the heroine and the happy 
ending, this time in a grotto. There is a murder, too, which takes 
place on the rim of a volcano; and there is some gorgeous scenery. 
Lew Collins directed ably. 

63 




eighbor 



Miss Ruth Kane, of 331 East 31st Street, Miami, 
Florida, Has Rung Doorbells In Hollywood; 
And She Reveals What's Behind The Portals 



WE have published some half-dozen articles on 
home-towners away from the home town think 
Hollywood. 

These were presented in order to convey, from an abso- 
lutely unbiased standpoint, what Hollywood really is like. 

For we felt that if our readers had the opinions of people 
who not only had no interest in the matter of gain and 
moreover the opinions of people they either knew or knew 
about from personal experience, they would be getting 
the honestest view possible. 

We've had stories from Pennsylvanians and Texans. 
from West Virginians and Nebraskans. 

But this month, we have a particular prize: we ha\e 
the views of someone from Florida. You know hoAV 
this state and California regard each other. And you 
can bet, if Miss Kane, of Miami, doesn't like what she 
sees in Hollywood, she'll say so. For Florida says oC 
California, in speaking of the earning of praise: "If 
you want it, you've got to earn it, 'cause we ain't givin' 
nothin' away." 

This month's "Your Neighbor Says" is, of course, 
especially of interest to Floridans. But 
than any other unit in the same series published 
before, it should hold a reading-appeal of unique 
piquancy. 

— Editor'' s Note 



WHAT the army thinks 
the navy, what the 
navy thinks of the 
army, what the ma- 
rines think of both of 'em — that 
is what Florida thinks of Cah- 
fornia. Ever since Ponce de 
Leon discovered the fountain of 
youth and Sennett uncovered 
the figures of youth, it's been hot 
and heavy between the two 
states for beauty, climate and 
real estate honors. 

That's why this little lady is 
something new, something dif- 
ferent: she's the only living 
human of her kind, a California 
booster from Florida. 

This little sweetheart of Miami 
has gone sweet on Hollywood. 




Them mouth, them nose, them eyes of blue; 
them feet, them hair, them five foot two, 
is just one big blaze of "Howdy" for 
Hollywood. 

She's from down in the Everglades — 

or is it the Bahamas.'' where they drink 

everything Cuba can spare. Down where 

they boom and crash without noise or 

black magic. Down where the wind 

blows and no foolin'. That's Ruth Kane. 

When somebody finally introduced 

us, she was just fresh off the train — oh, 

about thirty days, and living at the 

\iiibassador. But for a little stranger 

all alone in a big city, she's covered 

considerable territory. She would. 

She's just the type. 

SHE HAS RUNG DOORBELLS 

HAVE I met any Holly- 
wood folks.'' Have I 
seen the town ^ Have I rung 
any doorbells.? W h y , 




No wonder Miami 's 
popular when such 
girls as Ruth Kane — 
above — grow there. 
Next to her is the sicy- 
line of the city; just 
above this is an im- 
portant part of it, the 
courthouse; and at the 
right is a view of the 
beach in midwinter. 
Note the absence of 
skis 



64 




One evidence of 
Miami's prosperity 
is the Olympia 
Theater, at the 
right. In size and 
luxury it is ranked 
with the foremost 
playhouses of the 
South 



By WALTER RAMSEY 






Hone}', 
So I 



I've seen all there is. there isn't any more! 
isked. real high-minded, "What do you think c 
Hollywood Boulevard?" 

"The Boulevard?" she echoed rather blankly. "Where's 
that?" I told her. But she only shook her head. "I didn't 
come out here to see boulevards. We've got drives in 
Florida that are every bit as prett}". 

"Why should they toot about Holh^vood's twelve-story 
buildings? We've got one that is thirty-two stories in 
Miami, and we don't crow about it. O' course, there aren't 
any windows in it yet. but it's sure standin' there anyhow. 
And why should I go into ecstasies about the Pacific? The 
Atlantic is just as blue. As for palm trees, I was brought 
up in the shadow of them, and they hadn't been trans- 
planted either." 

I looked to see if that was 
a dirty crack; but no — the gal 
was smiling. 

"No, it isn't the beauty of 
the state that I'm looking at; 
it's the people that get me 
enthusiastic. I never saw a 
town with so much person- 
alitv as Hollywood. All the 






II 1 1 

all! 



High-lights in Miss Kane's Comment : 

Are the girls pretty? It's a convention of 

queens 

Dancing with Dick Arlen is like dreams 

come true 

Lew Cody doesn't waylay unwary maidens; 

he acts like the master mind 

Florida has more heautiful women, but 

California has the most beautiful 

In HoUyMOod they cry when they aren't 

working; in Florida they cry when they are 

California has the better climate; Florida 

has the better fruit 




girls are so cute. The boys must 
get out special editions for their 
date books. 

A CONVENTION OF QUEENS 

jOWN home one pretty 



D' 



irl can run her own 
particular set. She's catered to 
and rushed weeks in advance. 
But out here the girls all have 
plenty of competition. It's a 
convention of queens. Judge M. 
C. Kane is my father, and almost 
everybody knows my sister and 
me in Miami. But I guess it 
would be quite hard for a girl to work up a following here. 
First because there are too many beautiful girls already 
and second because there doesn't seem to be any out-of- 
picture society in Hollywood. 

"The movie people seem to be all the elite there is. 
But don't think I'm complaining. That's all right with 
me. I've never had so much fun as I had on a couple of 
Hollywood parties. There's an informality and gaiety 
about them that just isn't to be found at a debutante 
dance. People meet you and, without making a big fuss, 
just accept you as though you had belonged all along. 

"The big stars that I've met are all very democratic. 
Money and a famous name seem to have left their per- 
sonalities and hearty handshakes unaffected. They are 
real people. Sympathy and charity are their two out- 
{Continued on page 102) 

65 



News, Views And Pre-views 
Of The Talking Pictures 



"^he 



Edited by HERBERT CRUIKSHANK 




THE HOME-TOWNERS 

WELL, well, well 1 If it isn't Georgie Cohan 'sold stage comedy doctored 
up by Warner Brothers into a one-hundred-percent Vitaphone 
talking picture. It's as good entertainment now as it was when it saw 
the limelight of the theater. And is distinguished, moreover, by un- 
usually fine vocal reproduction. It is bound to please everyone except 
perhaps a couple of soreheads in South Bend. The Indiana city comes 
in for a bit of a roast. But the chances are that by this time all the 
Main Streeters referred to have migrated to Hollywood. The cast con- 
tains some names that are new to the film fan. For one, Richard 
Bennett has been abducted from the beloved boards of Booth to grace 
the cinema. Then there is Robert McWade, whose success is assured 
right now. The plot concerns a pin-headed hick with an inborn dis- 
trust of all city slickers. How he gets over it is a tale good for a lot 
of laughs. When the tale is told by Mr. Cohan. 



THE DOCTOR'S SECRET 

A PICTURE which more than any other I have seen displays both 
the possibilities and the limitations of the talkies. Barrie's delicious 
lines are here — with extremely un-Barryish interpolations, if I am not 
mistaken. The cast is all stage-trained, and yet the result is not quite 
satisfactory either to a Barrie lover or a movie fan. After all, movie 
audiences expect motion, action. And in "The Doctor's Secret" they 
get long photographic discussions between characters and a plot which 
is rather too mental for the movie-trained fan. Ruth Chatterton, as 
the runaway wife whose lover is killed a few moments before they are 
to leave England together, is the first of the invading stage players to 
appear on the talkie screen. And — to me — she proves that Hollywood 
does not need to send to Broadway for its talent. H. B. Warner as the 
husband and Robert Edeson as the Doctor are more easily heard than 
John Lauder, the English actor who plays the lover. 






\. 



i 




SOUND YOUR "A" 

ONE of these three-reeler talkies meant for a prologue, orchestra 
substitute or whatever they intend to do with such fillers. 
Henry Lehrman directed and he's done a good job in showing ;the 
possibilities of sound conglomeration. It's the old rooming-house gag 
and takes you back ten years to when the silent movie was being per- 
fected. Just as plotless but just as interesting because of the number 
of voices and musical instruments you hear competing with one another. 
There's the borrowing tenant who manages to wheedle everything from 
onions to a pet rabbit from his long-suffering neighbors; the old boy 
who secures his relaxation from saxophones, trombones, flutes and 
everything else he can find to perfect lung expansion. Of course, there's 
the dog — in fact, all the sounds which can be gathered into three reels. 
Worth seeing and hearing because of its variety of sound-reproduction 
and flashes of humor. 



MY MAN 

THIS presents in a full-length talkie for the first time one of the best 
known musical show comedians in the American theater. She is 
Fannie Brice, about the alteration of whose nose there was quite as 
much ballyhoo as about Jack Dempsey's. She appears in this sound- 
and-dialogue-and-song movie which comprises the most successful 
numbers of her long and lustrous career, together with a few renditions 
of new melodies quite on a par in entertainment value with the old. 
From which you may judge that there isn't much of a story. There 
isn't. The plot is no more than a pretext or series of pretexts for giving 
Miss Brice a chance to do the stuff that so consistently has delighted 
''Follies" audiences. But inasmuch as she does them all character- 
istically well, it should interest anyone to see the picture. In the film 
with the star are other players better known on the screen, prominent 
among them being Edna Murphy and Richard Tucker. 




CcWu/oud Drama 



A THOUGH the Sclunck hoys — Nick of Metro, the ClieisdorfF sisters. Fannie Brice, the Rooncys, and 
and Joe ot United Artists — continue to regard Bohhe Arnst are featured in "Night Club," fourth of the 
dat ole davil talkie with suspicion and distrust, whole-show programs, not to mention Ann Pennington's 
the rest of the industry has rushed in where these knees. A comedy with Estelle Taylor, Raymond Hitch- 
angtls fear to tread. cock and Lester Allen; and in addition a 

Paramount, on both coasts, boasts ^^^^^mhHB^B^mm^^^^ classic fragment from the works 

tremendous ^^tfl^^^^^^^^^^^^^^^^^^^^^^^ ^^ Victor Hugo, "The 



E reduction of audibies. The 
asky organization 
Slans twenty-two all- 
ialogue features. 
And seventeen 
more to contain 
some talking 
and s i n g i n e 
plus a s\ ■ 
c h r o n i z c .i 




hop's Candlesticks,' 
round out this bill 



Ml TY-FUTYCOSTS 

OTICE the 
stage stars 



There will be 
four poor little 
dumb features 
without a word 
to say for them- 
selves. But — 
hist! — t h e r ( 
seems to be a bit of a 
trick in it. For 
twenty-four of the 
thirty-nine sound films 
will also have silent versions. 

The Paramount line-up of 
stars from the stage is appalling. 
The Four Marx Brothers, Eddie Cantor, Walter Huston 
Ruth Chatterton, Jeanne Eagels, Claudette Colbert- 



heading movie 
casts. Ruth 
Chat terton, 
with a cast 
fifty per cent 
stage princi- 
p a 1 s will 
also make 
"The Dum- 
my." Claud- 
ette Colbert, 
i^ith a group 
from the theater, 
is scheduled for 
The Hole in the 
Wall." 
Meantime a sickening 
rumor comes from a far corner 
^ ^ ^\ _ of. Hollywood. It is that the 

talkies have finished Emil Jannings. The great German 
doesn't speak English. He has three pictures to make 



dozen others have been enlisted to storm the citadels of before his contract expires in October. All are silent, 

the cinema. Not only is the realm of the movie actor But it doesn't seem possible that the death knell of 

threatened by the cohorts of the stage, but movie directors, pantomime can be so quickly sounded by the noisy drama, 

too, have been given something to think about. Producers Accents may be assets after all. Paramount is starring 

of Broadway shows are now competing with them. The the Russian, Baclanova, in a talkie. Upon its success may 

famous Frohman organization, for instance, under the rest the future of the foreign contingent. On the other 

leadership of Gilbert Miller. Then there is Robert hand, dialogue is to be omitted from D. W. Griffith's 

Milton, and Joseph Santley, George Abbott, John Crom- "Lady of the Pavements," which boasts the presence of 

well and Edwin Knopf. Paramount has also plunged Lupe Velez in a prominent role. 



into the making of talking 
short subjects. Theaters will 
give a complete Paramount 
show. Just as "Interference" 
is accompanied bj- Eddie Can- 
tor's skit, "That Party in 
Person," and the one-reeler ot 
songs by Ruth Etting, so the 
feature films to come will have 
their complements of spice. 
The second unit has as its full- 
length attraction, "The Doc- 
tor's Secret,' 

Chatterton; a bit by Bo 
Minnevitch and a comedy by 
Santley — all audible. "TheLet- 
ter," starring Jeanne Eagels, 
is the piece de resistance of the 
third Paramount offering. And 
it is accompanied by a short- 
reeler of Eddie Peabody, a 
banjo strummer; and songs by 



Ruth 




Two directors, one from the films and one from the stage, 
supervising scenes for the talkies. In the upper picture, 
D. W. Griffith instructing Lupe Velez in a song number; 
and in the lower, Willard Mack, pointing, gives a lesson 
in the fine art of choking 



Metro has one talker fin- 
ished. It is "Broadway Mel- 
ody." Another is on its way — 
"The Trial of Mary Dugan." 
Marion Davies's new one, 
"The Five O'Clock Girl," will 
be made in both sound and 
silence. Louis B. Mayer and 
Nick Schenck won't be left 
out of the sound parade. But 
it is no secret that Metro is 
going very slowly. It seems a 
time for watchful waiting at 
the Culver City studio. The 
wise men at its head sense the 
instability of the entire situa- 
tion and are watching to see 
which way the talkie cat will 
jump. 

Of c o u r s e , the Warner 

Brothers, valiant pioneers in 

{Continued on page 120)^ 



Modernized 

To Be Sealed In A 
Too Old Fashioned A Peril 




WHAT better place to talk to the star of 
a motion picture serial than aboard a 
silver Maddux air-liner, winging its way over 
Hollywood toward San Francisco? At two 
thousand feet of elevation the most famous movie sheik is 
invisible and the studios look like a child's building 
blocks carelessly Hung down. If I had my way (I think, 
peering down on an absurd dab of green that is some 
screen star's Beverly Hills estate), I would insist that all 
picture people take a daily ride in an aeroplane to keep 
their sense of proportion. 

She sits in the wicker lounging chair across the aisle, 
looking in her smart sports suit like the high school girl 
that she was until a few years ago. Through the gossamer 
silk of her stockings dark bruises show. "Covered with 
them," she shrieks, to be heard above the drone of the 
giant motors. "Ruined sixteen pairs of stockings. Ten 
weeks." 

She is the new queen of the serials, heiress to the lurid 
"Perils of Pauline," successor to the amazing "Adventures 
of Kathleen." She is that durable heroine who lives through 
ten reels of murder, mayhem, dynamiting, kipnaping and 
torture, to emerge in the final scene in which she is rescued 
from the Hell-Hole of the Rum-Ship (see Episode Seven) 
smiling, without a hair of her perfect marcel harmed, 
attired in a dainty white chiffon evening gown. 

She is Gladys McConnell, star of "The Tiger's Shadow" 
(shown at Your Neighborhood Theatre Next Week). 

SERIALS ARE EVER SERIALS 

THE children of the child-fans who screamed and 
hissed when the gang of counterfeiters bound Pearl 
White to the railroad tracks and flung Kathlyn Williams 
into the mill hopper a generation ago, will yell just as 
loudly when they see the rum-runners throw Gladys into 
the hold of their Floating Hell in company with the Tiger. 



le movie serial of today 
is the same as that of yester- 
day, except that the perils have 

been modernized, and the criminals brought up to date. 

The heroine is still the beautiful and innocent victim of 
mysterious plots always being captured by conspirators 
and rescued just in time by the hard-working hero. 

Where in the old days the criminals were spies of foreign 
governments after the diplomatic secrets, or rival claim- 
ants to oil lands after the secret map, now the dirty work 
of the serials is done by rum-runners, hi-jackers, gunmen 
and gangsters who employ the most modern inventions in 
executing their villainy. 

"They discussed kipnaping me in a submarine," 
Gladys screams in my ear. "Gave up the idea finally. 
Said that submarines were too old-fashioned." 

The first serial ever made was "What Happened to 
Mary," with Mary Fuller as the girl to whom it happened. 
Since then Ruth Roland, Grace Cunard, Doris Kenyon, 
Kathlyn Williams, Anna Q. Nilsson, Pearl White and 
Juanita Hansen have successively struggled in the 
clutches of Masked Menaces, Iron Claws and Clutching 
Hands. They have been left week after week in dens of 
rattlesnakes, tied hand and foot with burning fuses creep- 
ing toward gunpowder barrels, stranded on rocks in mid- 
ocean with a man-eating gorilla for companion, bound on 
logs approaching the buzz-saw with fatal swiftness, swung 
by the hair from cliffs, abandoned at the moment of peril 
with the curt legend, "See the Next Episode in this 
Thrilling Serial a Week from Today at This Theatre." 

CONSIDERATION FOR KIDS 

PERHAPS no movie heroines were ever so sincerely 
loved by their fans as these serial queens. And the 
serials are still going strong. They appeal to a class of fans 
which never changes: the children. 

"Never realized that till this picture," Gladys' voice 
comes faintly over the motors' hum. "One scene, taken in 
a wind, blew my skirts up. Director said we'd have to 
take it over. Had bloomers on. Couldn't see that was 
necessary, but he said 'Making them for the kids and 
got to be awfully careful.'" 

We are passing over the San Ft nando Valley with its 



Menaces 

Submarine Is 

For Gladys McConnell 

By DOROTHY DONNELL 



<# 



new studios like salt-boxes 
far below. The Ridge 
Route lies beneath us, 
dotted with the sharp scar- 
let ot huish fires, fought by 
men as uisignilicant as in- 
sects. Lesser aeroplanes 
dart low over the moun- 
tains, directing the 
\ork of fire-hghting, 
their shadows float- 
ing across the gulfs. 
G lad y s 
McConnell 





as much at home 
the air as on the 
ound, having be- 
in eight years ago 
I train unwitting' 
1 a future career of 

iiig bound hand 
ul foot and set 
hi ft in a pilotless 

roplane in Episode 

I here was an air- 
leldon ourway to school," 
hv explains as we slide 
own to the Bakersfield aii 
I'ut and come to a stop with 
irdly a jar. "Some of the girls used to stop, going home 
lul beg for rides. Our parents would have died if they 
ould have seen us joy-riding in those rickety old army 
ilaiies. But I've never been afraid in the air for one 
11 inient since. I'm going to learn to pilot a plane myself 
!i - winter and if I ever save up enough money I'll buy 
t those cute litrle rw'"-'-f>r»="-s and run down to Agua 



If anyone wants to know why serials are 
not only regaining but surpassing their 
former popularity, he has only to con- 
sider the fact that they present girls as 
full of fun and as void of fear as Gladys 



Caliente after dinner in the evenings." 
The propellers begin to whirl. An auto 
drives up with a great slamming of brakes 
and the chaufl^eur runs over to the plane to 
thrust a package through the pilot's win- 
dow. "Tell 'em to send the next size larger," 
he shouts. Shoppin^^y aeroplane. There is no 
crowd to watch us make our take-ofF; it is as 
matter-of-fact and casual as the departure of a rail- 
road train. 

In "The Tiger's Shadow" the aeroplane is the 
ordinary method of travel from one hiding place of 
the gang to another. Gone are the dear dead days 
when serial stars hurtled chasms on motor-cycles or 
crossed bottomless valleys on cables or log-flumes. 

The serial queens of other years have had their experi- 
ences with the air. As long ago as "The Red Circle" we 
watched breathlessly while Ruth Roland crawled out on 
the wings of a biplane, pursued by a gentleman in a mask 
{Continued on page iij) ■■ 

69 




\JlJhen Cjfrins are ^ Jwins 

It's a sign of exceptional good fortune. And in this case, not only for Florence 

Lake — who's to make her screen debut in the Clark and McCullough talkie, 

"The Big Bout" — but for fans who have in store for themselves the pleasure 

of seeing — and hearing — her 



rlatters with its dashing gleam y' 
says Lady Heath 



England's foremost woman aviator 



Lady Heath, now touring America to 
recount for us some experiences of her 
very enthralUng life, is that deUghtful 
English combination of sportswoman 
and society woman everywhere admired 
—fearless, charming, beautiful. 

As Lady Heath takes entire care of 
her own De Haviland Moth plane, we 
her whether she did not find the 
strenuous life she led very hard on her 
hands. 





Lady Heath keeps her capable hands lovely 
with the new Cutex Liquid Polish 



Cutex Cuticle Remover to shape the 
cuticle, and the Cutex Cuticle Oil to 
feed it, and once a week I apply the 
new Cutex Liquid Polish — which doesn't 
stain, you know." 



Famous flyer and hunter of 
big game . . . Lady Heath is 
renowned for her beauty 
and great daring. She has 
flown from Cape Town to 
London and hunted big 
game all over the world. 



* Tending Flowers . . . Potting Plants 
Cutex protects my nails . . , " 

says prominent woman florist 

At the corner of Madison Avenue and 65th Street 
is Miss Mary Bond's charming florist shop. 

Miss Bond loves flowers and caring for them. "All 
day," she says, "my hands are wet. My fingers 
are constantly digging in the soil. No occupation 
could be harder on the hands, for so much moisture 
makes the nails dry up, and the fertilizer eats them 
and hardens the cuticle. So I have to be sure to 
give my hands regular attention. Each evening I 
spend a few minutes with my Cutex Set— the 
Cuticle Remover to restore the smoothness of the 
cuticle, the Nail White to bring back the whiteness 
to the tips, and the Cuticle Oil to soften the cuticle 
and prevent the nail from ridging and cracking. 

"And I never fail once a week to apply the new 
Cutex Liquid Polish. It protects my nails amaz- 
ingly and gives the delicate lustre that flatters the 
tiredest hands." 




Do these three things 

First— the Cuticle Remover to 
remove dead cuticle, to whiten nail 
tips, soften and shape the cuticle. 

Second— the Polish Remover to 
remove the old pohsh, followed by 
flattering Cutex Liquid Polish. 

Third — apply Cutex Cuticle 
Cream or Cuticle Oil around the 
cuticle and under the tip to keep 
the cuticle soft . . . Cutex prepara- 
tions 3 5fi each. Polish and Remover 
together 50(*. Northam Warren, 
New York, London, Paris. 



The new 

Cutex 

Liquid Polish 

flatters 

your nails 




I enclose 12i for the Cutex Midftet Mani- 
cure Set contalninfi sufficient preparations 
for six complete manicures. (If you live 
in Canada address Post Office Box 2054, 
Montreal, Canada.) 
Northam Warren, Dept. 9M3 
114 West 17th Street, New York 



iii^ 



Madge Bellamy, Fox sta 

in the quaintly charmi: 
bathroom — one of the finest 
built in Hollywood— which 
so effectively combines richly 
veined marble with natural 
grained paneling. 

"The 'studio ski?i' a star 
must have demands a soap 
that leaves the skin smooth as 
a rose-petal — and Lux Toilet 
Soap does!" 




r/iaJLuiy (hjutL^y^^^ 



Photo by E. A. Bachrach. HoUyw< 

The very next time you see tiny Olive Borden in a 
close-up, notice how exquisite Lux Toilet Soap keeps 
her skin. "It's so important for my skin to have the 
smoothness we mean by 'studio skin,' and Lux Toilet 
Soap is so splendid for it that I am delighted with 
this daintily fragrant soap," she says. 



Photo by L. Thomson. Hollywood 

Mary Nolan, Universal star, gives such intelligent care 
to her beautiful skin, both at home and in her dressing 
room on location. "I am utterly enthusiastic about 
Lux Toilet Soap," she says. 



Lux Toilet 




and in their dressing rooms 

9 out of lO screen stars 
use Lux Toilet Soap 



Photo by W. E. Thorn: 



Irene Rich, in the bathroom built in Holly- 
wood to combine classic luxury with modern 
charm. 'Lux Toilet Soap gives the skin as 
beautiful a smoothness as the famous French 
soaps do," she says. 



EVERY GIRL knows how at- 
tractive she is when her 
skin is really lovely. 

Experience has taught movie 
directors that an exquisite skin gets 
an immediate response from people. 

"Smooth skin is the first essen- 
tial of charm," says Paul Leni, 
director for Universal. "To become 
— and remain— a popular screen 



star, a girl must have a skin so flaw- 
lessly smooth that even in the glare 
of the close-up it is perfect." 

Of the 451 important actresses 
in Hollywood, including all stars, 
442 are devoted to Lux Toilet Soap 
because it keeps the skin so smooth 
and soft. And all the great film 
studios have made it the official 
soap for all dressing rooms. You, 
too, will be delighted with it. 




Photo by W. E. Thomas, Hollywc 

Phyllis H.wer, Pathe star— "Lux Toilet Soap leaves my skin so gently 
smooth that I have no fear of the high-powered lights of the close-up." 



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A Little l^audoY-and Funnier 



Off The Screen, Eddie Quillan Displays 
About As Much Humor As A Scotch Joke 

By DOROTHY MANNERS 




ONE of the funniest 
little guys that 
ever got himself 
into comedy sit- 
uation is Eddie Quillan. 
Hoot, mon! He's a Scotch 
boy and he hasn't been long 
in the movies. A couple of 
years would about cover his 
entire photographic career. 
But from his first close-up at 
Sennett's on through to fea- 
ture billing in "The Godless 
Girl, "^;_he has made his mark 
in a more boisterous type of 
fun than Keaton's, less 
technical than Lloyd's, and 
equal to Langdon's in pa- 
thos. 

On the screen the kid is 
there. 

Off the screen Eddie is as 
lacking in humor as most 
comedians off duty. I 
didn't talk to him long 
enough to find out v^rheth- 
er or not he had a Hamlet 
complex like Chaplin. The 
director kept calling him 
for various and assorted 
scenes of "Geraldine." 
But I have a vague hunch 
he would have revealed a 
yen for the bigger and bet- 
ter expressionism, if he 
had been permitted to get 
a couple of sentences to- 
gether without interrup- 
tion. 

He's younger than a Baby Star's news- 
paper age. If he isn't careful, the Thalians will get him. 
Twenty years would be giving old Father Time a slight 
edge on Eddie. In addition to his youth, he is totally 
unsophisticated, as Hollywood rates sophistication. Be- 
fore he speaks he clears his throat in prelude as though he 
half-feared his vocal chords would do him dirt if he spoke 
right up. So far he hasn't quite grown to his hands and 
feet, and under pressure of too rigid scrutiny he wiggles 
slightly. 

HIS SMALL-TALK FUND SMALL 

IT isn't exactly nervousness. No, I wouldn't call it 
a lack of ease. As a matter of fact, Eddie is rather in- 
different to the leads of small talk. 

Yes, he liked doing "Geraldine." "Geraldine" was a 
good story by a famous author, Booth Tarkington. No, 
he didn't exactly know how he was going to play the love- 

74 



smitten youth. The script 
was not finished yet and 
the part was liable to 
change without notice. 
He, himself, wasn't worry- 
ing about it, however. He 
wasn't worrying much 
about anything since he 
had separated himself 
from the tempestuous 
Sennett emporium and 
gone to Pathe, the former 
DeMille outfit. 

lust then the director 
called him and he excused 
himself to "see what he 
wanted." 

During the lull in the 
interview a young fellow 
from the publicity depart- 
ment volunteered the in- 
formation that Eddie was 
destined for the movies 
from the start. It seems 
that he was born on Holly- 
:-ood Street somewhere in 
Philadelphia. His arrival in- 
creased an already generous- 
ly membered Scotch-Irish 
family by one — and his 
Dad's theatrical act by a 
darn good little hoofer. 

Eddie danced himself 
onto the stage before he 
had quite mastered the 
rudiments of walking. 
With his two brothers, a 
sister and his father he 
toured the vaudeville cir- 
cuits for years. He did a 
juvenile impersonation of 
Harry Lauder that al- 
^ most headlined the 
O^n act and would 
probably have 
brought the 
whole family to the Big Time if the 

law hadn't interfered, with compulsory schooling. The 
folks returned to Philadelphia, entered Eddie at Saint 
Gabriel's School and saw him through a finishing course at 
Mount Carmel. 

BESIEGING SENNETT 

WITH the schooling completed and the law satisfied, 
Eddie joined his father's act again. They were 
scheduled for a trip to the Coast and from the very start 

{Continued on page Ii8) 




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At the court of one of the reigning queens of the screen. Above and at the right, 
Gloria Swanson in action during a tennis match; and at the left, taking the measure 
of the net just before taking that of Herman Richardson 




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Shopping with\jilyan'^ashman 

Second Of A Series: Revealing This Time 
The Practical Secrets Of A Star's Dinner Party 



\ 



Bv MARIE CONTI 




Above are the place cards 
Miss Tashman uses; at 
the left are the elaborate 
peppershaker and the salt- 
boat; and below in the 
circle, one of the napkins, 
with a single monogram 



D 



ROPPED in to 
pay my respects 
to Lilyan Tash- 
man at 





clock the other morning. Found her dressed in a natty 
morning costume, one of those combination silk-and- 
wool affairs, which can be worn lor practically any pur- 
pose from shopping to golfing. 

"Won't you go with me? I'm going to buy food for 
dinner." 

"What! Buy your own food.? Lilyan, I 
didn't know you were domestic." 

"Oh, yes, I always choose my own meats 
and vegetables when possible, especially i ^Mi 

when there are to be guests for \ ^Kf 

dinner. It saves the cook and 
gives me a chance to know for 
certain that everything is fresh 
and just as I want it. It is just 
a small affair tonight. Greta 
and Jack, Mr. and Mrs. Barney 
Baker, Mr. and Mrs. Arthur 
Hornblow, and Mr. and Mrs. 
Henry King are coming to 
spend the evening." 

"Will it be formal.'"' 

"Both formal and informal. 
Naturally, I'll drag out my best 
for the table and we'll be in con- 
ventional dinner clothes. But 
after dinner we'll just sit around 
the grate fire and be com- 

78 



Miss Tashman carries out 
in the tablecloth the sim- 
ple monogramming of the 
napkins. Above, she holds 
the cloth up for inspec- 
tion; and below, in the 
rectangle, are the candles, 
already partly burned 



panionately informal." 
"Oh, take a few min- 

VanRossem and Lani Photos UteS, Lilyan, tO shoW me 

just how you will set your 
table. I'm going to write a story on serving a formal 
dinner; and since you've got to get everything ready 
anyway, can't you set your table now.'' I'll call up a 
photographer and get him to come up and take some 
pictures. It won't take but a few minutes and then I 
will go shopping with you and see just how much 
you know about this food business." 

The few minutes turned into a couple of 
hours. But Lilyan proved she did know a 
domesticity, as she set her 
own table and chatted about 
why she did this and did that 
in her own fashion. She even 
slipped upstairs, shed the shd»'- 
ping outfit, and put on the gown 
she would wear that evening. 
I am going to describe to you 
exactly what Lilyan was using 
to honor Greta Garbo and 
John Gilbert, although, as she 
herself explained, it wouldn't^be 
necessary to have a tablecloth 
imported from Germany, glass- 
ware from France, Belgium and 
Italy, dinner plates from Dres- 
den, and so on. In fact, I de- 
cided when it was over that I 
{Continued on page no) 










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Subjects:— 




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Lawrence Gray 


Fay Wray 


Clive Brook 


Neil Hamilton 


Nancy Carroll 


Lina Basquette 


Jacqueline Logan 


William Collier, Ji 


Evelyn Brent 


Anita Page 


Lane Chandler 


Charles Delaney 


Liipe Velez 


Victor McLaglen 


Berry Norton 


Ben Lyon 


Gilben. Roland 


Joseph Striker 


Alice White 


Nils Asther 


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Name 

Street Address 

Post Office 

State 

Start with issus. 

79 




RITZV-ROSIE.— Don't be like 
that. Come d o w n to earth. 
Charles Farrell was born Aug. 9, 
1905. He is six feet two, weighs 
175 pounds, has brown hair and 

eyes. His latest picture is "Blue | 

Sky." Janet Gaynor, Philadel- 
phia, Pa. about twenty-three years 
ago. She is five feet tall, weighs 108 pounds, 
red gold hair and brown eyes. Playing in "Blue 
Sky," and your letters will reach them at the 
Fox Studios, 1401 No. Western Ave., Los 
Angeles, Cal. Write Arthur Lake at Universal 
Studios, Universal City, Cal. You refer to Le 
Roy Mason who played in "The Viking" and 
"Revenge." Send me twenty-five cents for photo. 

WALNUT. — I prefer pecans. Gary Cooper 
was Cadet White in "Wings". Jack Stone 
was the infant in "Lilac Time." Write him at 
First National Studios, Burbank, Cal. Barry 
Norton, the drunkard, in "Legion of the Con- 
demned." William Haines and Joan Crawford 
are playing in "The Duke Steps Out," Metro- 
Goldwyn-Mayer Studios, Culver City, Cal. 

MIKE M. — Percy Marmont and not Clive 
Brook played in "The Street of Forgotten 
Men." Perhaps your friend is referring to 
"Forgotten Faces," starring Clive Brook. Clive 
was in New York for a short visit and to do 
some shopping. His latest picture is "The Four 
Feathers." Paramount Studios, 5451 Mara- 
thon St., Hollywood, Cal. It is estimated that 
two per cent of those who love football would 
attend a game played by stars no longer con- 
nected with any college. 

INA, SWEDE.— Vilma Banky and Ronald 
Colman's first picture together was "The Dark 




Nopopularity contest is complete 
without Buddy Rogers — evi- 
dently his fans didn't like his 
being relegated to the fifth 
place last month and gave him a 
boost. The face with the smile 
wins, after all 



iirThe\\hi(('Sislor." Nils \s1her 
and (;r(-la (Jarbo r(H-ci\e their fan 
mail at lheM(>tro-(i()ldwyn-Mayer 
Studios, Culver City, Cal. Gary 
Cooper's first picture was "The 
I Winning of Barbara Worth , ' ' star- 
ring Vilma Banky and Ronald 
Colman. 

BILLY AND BOBBY.— How are the girls? 
I like your pictures, who's the gifted person? 
You may write Sue Carol and Nick Stuart at 
the Fox Studios, 1401 No. Western Ave., Los 
Angeles, Cal. Their first picture together will 
be "Girl's Gone Wild." Marguerite de La 
Motte will play in "The Iron Mask." These 
are the good old days we will be longing for a 
few years from now. Let's hear from you again. 

LONESOME BILLIE.— You should be in 
the moonlight. Ramon Novarro was born in 
Durango, Mexico. Feb. 6, 1899. He is five feet 
eight, weighs 155 pounds, black hair and 
brown eyes. He is playing in "The Pagan," 
Renee Adoree and Dorothy Janis play opposite 
him. Send your letter to him at the Metro- 
Goldwyn-Mayer Studios, Culver City, Cal. 

V.C.R. — Greta Garbo's next picture will be 
"Wild Orchids." Nils Asther is her leading 
man. Louise Brooks went to Germany to make 
pictures. Alice Joyce is now appearing on the 
stage in California. The song you have reference 
to is "That's My Weakness Now." James 
Ford, the newcomer who has attracted so 
much attention with the female fans, was born 
in Lawrence, Mass., on March 2i, 1905, and 
went through grammar and high school there. 
He is six feet tall, weighs 170 pounds, has 
{Continued on page 87) 




It will be Broadway and a 
Melody all right when Anita 
Page appears in her next, 
which wears that title. Anita 
is coming on into second 
place this time 



Clara Bow puts on a "Wild 
Party" for the benefit of the 
fans who require a hot time. 
Clara can be depended upon 
to jazz up anyone, no matter 
how jaded 



Nils Asther always will burn 
'em up — whether it's with 
the flowery "Wild Orchids" 
or the frozen love-stuff of the 
Northern lover. He always 
gets the girls 



No wonder "the Duke Steps 
Out" when Joan Crawford 
appears — with such a queen, 
even a few kings ought to 
come 'round. Joan would 
make anyone step out 



w 



SeetKe 
J!oueLy!Near 
Spring Stijles 




Know What Fashion 
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All items listed, dresses, coats, millinery, 
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(^ 



W. 35th Street, CHICAGO 



Elmer Richards Co., 

Estahlished over 20 years 

W. 35th Street, Dept. 2783 Chicago, Illinois 

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Flower of Spam, the wonderful kid 
from Madnd. Not herself, but 
himself, for we warned you just in 
time not to kill that mantilla; it is 
for a fact Lon Chancy 




Speaking of campusite pictures, 
here's one of Ramon Novarro, 
apparently transformed into a col- 
legiate stepper 



iri}^^' 



Cody was ever a name syn- 
onymous with the glory of 
the wild West; and here the 
tradition of Buffalo Bill is 
carried on recklessly by Lew 



Whether the cap fits or not, 

Buster Keaton wears it in a 

sentimental moment with 

Renee Adoree 



Has John Gilbert gone slap- 
stick? Or just plain crazy 
because he's to have more 
new leading women? 




Unseen Scenes 



Composite Pictures of Things That Never Happened 



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Dept. B-2062 
4500 Mary Ave. 



ST. LOUIS, MO. 



Mr. Hoover Censures Censorship 



Mr. Hoover was then, as now, a staunch 
believer in the theory that the movies, left to 
themselves, would meet by their own actions 
the objections that were being voiced against 
them in several quarters. 

A bill, one of several similar ones, to 
establish a federal film censorship was before 
the House of Representatives. President 
Coolidge was asked to 
state his views on the 
fairness and practica- 
bility of the measure. 

HIS COUNSEL TO 
COOLIDGE 

BASED on the ad- 
vice of his Secre- 
tary of Commerce, in 
the best position to 
judge the worth of 
such legislation. Presi- 
dent Coolidge came 
out flatly against the 
bill and, paying partic- 
ular compliment to the 
organization of the pic- 
ture producers them- 
selves in keeping their 
industry on a sound 
basis, he declared his 
belief in the movies as 
emissaries of good-will 
abroad. 

Quite soon after- 
wards, Mr. Hoover 
was a guest of honor at 
a banquet given by the 
advertising men of the 
motion picture busi- 
ness. Among the other 
guests were several am- 
bassadors and minis- 
ters from Latin-Ameri- 
can countries. 

The censorship bill 
was a topic of interest 
in embassies in Wash- 
ington as well as to the 
picture people, and Mr. 
Hoover reiterated the 
stand made against it 
by President Coolidge. 
He said: 

"If we had a deified 
censor of so inspired 
and so lofty a soul as to 
be able to say what 
from South America 
could truly represent 
to us their fine progress 
and their great aspira- 
tions, and who could 
cut from our films 
those things which are 

our own humiliation, the picture would be- 
come the greatest vehicle of friendship yet 
devised by man. 

" But the industry must be its own censor. 
I have a growing confidence in it. 

"The proof is that today the lowest levels 
of morals and inspiration in the films are 
higher than the current stage itself. 

FAITH IN THE INDUSTRY 

I TRUST in the good faith of this great 
body of men who dominate the industry 
in the United States to carry out this pro- 
found obligation; that is, that every picture 
of South American life shown to our people 
and every picture of North American life 
shown to the South American peoples should 
carry also those ideals which build for that 
respect and confidence which is the real 
guarantee of peace and progress." 



{Continued from page 2g) 

Such was Mr. Hoover's attitude toward 
the movies when he was Secretary of Com- 
merce. As President, his friendship will 
continue to be of inspiring aid to the 
industry. 

There is too, a more personal element in 
Mr. Hoover's friendly feeling toward the 
motion picture business, than merely his 




P. S- A. 

Who's Hoovers all; the President-elect and Mrs. Hoover, seated; and standing 
behind them, from left to right: Herbert, Jr., and his wife; and Alan Hoover 



contact with it through the Department of 
Commerce. 

As a Californian, many of Mr. Hoover's 
friends, and in the last campaign, many of 
his most energetic supporters, were men 
high in the ranks of the industry. 

It was considered significant, too, the 
wide use Mr. Hoover made of the movies in 
his campaign. The newest development of 
the films, the movietone newsreels, carried 
his speeches into every city in the country. 
While the silent newsreels helped stamp his 
personality on the minds of millions of oth- 
ers who made up the audiences of the smaller 
theaters not yet equipped to vocalize their 
pictures. 

That Mr. Hoover was among the first to 
appreciate the full value of the movies' aid 
was indicated in the fact that election night, 
as the Hoover family and their friends gath- 



ered in Palo Alto to await the returns, they 
were entertained by a showing of all the 
newsreels made during the campaign. 

A FAN HIMSELF 



He is a fan personally. 

When the V. S. S. 
Maryland steamed out 
of San Pedro, the port 
of Los Angeles, bound 
to South America, Mr. 
Hoover had aboard 
sixty pictures, many of 
them not yet released 
to the general public, 
to aid in the entertain- 
ment of the party 
which was accompany- 
ing him on his good- 
will tour. 

The films had been 
secured through Louis 
B. Mayer, of Metro- 
Goldwyn-Mayer, who 
is one of Mr. Hoover's 
warmest supporters 
and personal friends in 
the picture industry. 

And on the decks of 
the Maryland, as she 
plied through the Pa- 
cific, movie shows were 
held nightly under the 
stars. 

Doris Kenyon, Emil 
Jannings, Clara Bow 
and Richard Arlen 
were the particular 
favorites of the Presi- 
dent-elect's party, it 
was reported. 

As for Mr. Hoover's 
personal preferences, it 
was said that he had 
especially asked that a 
print of "Ben Hur" be 
included among the 
films lent to his party 
for the trip. 

Thus the figures of 
filmland will again 
serve as entertainers at 
the White House— 
from the silver screen. 
President Coolidge, 
since his occupancy of 
the White House, has 
had two or more movie 
shows each week in the 
Executive Mansion for 
his family and friends. 
There is indication 
that this custom will be followed by Mr. 
Hoover when he is President and his home is 
the big white house on Pennsylvania Avenue. 
Thus it may be said that the screen has 
done in regard to our next president what 
he himself has done in relation to the 
Latin-American countries comprised within 
the scope of his pre-inauguration tour of 
them. It has carried to him, by its content 
of wholesome and instructive entertain- 
ment, a message of good-will. When added 
to that are the several hearty persona! 
relationships toward Mr. Hoover that the 
film industry holds and his own unquestion- 
able appreciation of the value of the movies 
as a medium for mass-message, those who 
follow the current of affairs in Washington 
are inclined to the belief that the president- 
elect will return to the industry friendliness 
that it has manifested toward him. 



The Answer Man 

{CouliitiifJfroiii page So) 

curly brown hair and gray eyes. He is now 

livina: in Hollywood with his mother and 

sl^i.r Your letter will reach him at the 

National Studios, Burbank, Cal. 

1">. — Renee Adoree is married to Wil- 
Sherman Gill. Marian Nixon is not 

man i.-d. \\ rite Ren6e at the Melro-Gold- 

wyn- Mayer Studios, Culver City, Cal. 

Marian at Pathe Studios, Culver City.Cal. 

.laiiit Gaynor and Charles Morton will he 
!H'\t in "Christina." Victor McLaglon 
' I'atrice Joy, "Strong Boy." Charles 
! ;ind an all-colored cast in "Hearts in 

I ' Fox Studios, 1401 No. Western 

.\\ c ., Los Angeles, Cal. 

VIRGINIA D.— Where did you get the 
idea that David I.ee died? This is about the 
two hundredth inquiry I have had per- 
taining to this question. His latest pictures 
are "Frozen River" and "She Knew Men." 
You may reach Philippe De Laccy at 904 
Guarantee Bldg., Hollywood, Cal. 

BLUE-EYED KITTY.— I'll say you re- 
ceived vour answer in a hurry. Clara Bow 
was l)orn July 29. 1905. See JUST W0\ 
DERI.NG about the correction of her birtli- 
date. Joan Crawford, March 23. 190(\ 
Anita Page is eighteen vears old; her next 
picture will be "The Duke Steps Out. 
Met ro-Goldwyn- Mayer Studios. Culver 
City, Cal. Barry Norton's real name is 
Alfredo de Biraben. David Rollins was 
born in Kansas City. Mo.. Sept. 2. 1908. Ho 
is five feet ten, weighs 135 pounds, and has 
brown hair and blue eyes. You may send 
your letter to him at the Fox Studios. 1401 
No. Western Ave., Ix>s Angeles. Cal. The 
mail-man is kept pretty busy with his fan 
mail these days, but believe he will be able 
to take care of yours. 

C.K. — Another Wilkes-Barre fan, I re- 
ceive a lot of mail from your town. I would 
suggest you write direct to Glenn Tryon in 
regard to his trip. Write the Universal Stu- 
dios, Universal City, Cal. The late Fred 
Thomson was married to Frances Marion. 
He was born Apr. 28, 1888, and died De- 
cember 26. Pat O'Malley, Mae Busch and 
George Cooper have the leads in "Night- 
stick," in production at the United Artists 
Studios, 1041 No. Formosa Ave., Hollywood, 
Cal. 

C.M.C. OF K.C.— Ian Keith was bom in 
Boston and received his early education in 
that city. At the age of eleven, he made his 
first stage appearance, and then he returned 
to school, being privately tutored at y\w. 
same time in Shakespearian repertoire. 
Later he toured with a Shakespearian (om- 
pany, playing at various times almost eNcry 
important role of thi> -reat poet. His sereiTi 
career began wilti •■Maiihaudled.' He is 
five feet ten, wci-hs ].').) pounds, and has 
black hair and blue eyes. His most recent 
picture is "The Divine Lady," starring 
Corirme Griffith. 

GARY COOPER FAN.— Gary was born 

I in Helena, Montana, May 7, 1901. He is six 

I feet two, weighs 180 pounds, and has red- 

( dish brown hair and blue eyes. He is an 

American, not English. He lived in Helena 

. until nine years old and then was taken to 

England, where he entered grammar school 

at Dunstable in Belfordshire. After three 

/ and a half years he returned to Helena and 

\ there entered high school. He began as an 

» extra, his first real screen hit was in "The 

] Winning of Barbara Worth." 

{Continued on page 89) 



IKuTH ST. IDeNIS 

discusses^ 
off -stage make-up 



■pnj 


fc - -i— «^, 


M 






n 


,- ■■ 4*. ^\ ^W bm 


Wj J 


1 ^ 


i^^lMI 


^IjM k-"--,. 


^^ 



Ruth St. Denis and Denishawn Dancers at class, in Denishawn House, N. Y. 



"Your make-up should enhance Demand Tangee today. One lipstick for 

T. 1 . all complexions! On sale evervwhere. 

your personahty, but never over- Tangee Lipstick $1. Tangee Rouge Com 

dramatize it. Your rouge, creams pact 75^, Tangee Creme Rouge $1 (and 

di 1 /• . for complete beauty treatment: Tangee 

powder must be perfect m o^y Cream, Tangee Night Cream and 

color, in blending and lasting qual- Tangee Face Powder, $1 each). 25(? higher 

. . in Canada, 
ities. 1 prefer Tangee preparations 

myself. They are particularly ef- Beauty ... for 20 Cents! 

fective, and I am glad to recom- IZTlnTi^'lT^SV^^j^lliZtlv^^^^^ 

mend Tangee lipstick particularly. a^u^'.-.n;!- w!'*^"^^'= ^^ "-"'' ""°- '"^- ''' ''"" 

It is really more than a lipstick! ^am„ 

Tangee protects your lips from ^Air«< 

chappingandissonaturalineffect." 



Ruth St. Denis, the 
world's greatest expo 
nent of Classical and 
Oriental Dancing . . . 
"who has brought more 
realization of Beauty 
into the world than nnv 



Jan^z^ 





Maria Corda's back. 
After her first Amer- 
ican film appearance, 
in "The Private Life 
of Helen of Troy," 
this Continental star 
returned to Europe 
for a period of activ- 
ity there. Recently, 
however, she came to 
sojourney's end; and 
she is again in Holly- 
wood, to enact a prin- 
cipal's role in "Love 
and the Devil" 



The Answer Man 

(Continued from page S/') 

M.A.I [. — Jobyna Halston was the other 
ffirl ill "Wintrs." Norma Shearer, Raymond 
Haokett ami II. H. Warner will play in 
"The Trial of \larv Duj^an," Metro-Gold- 
w>n-.M"y«'r Studios. CiUver City, Cal. 
Ruth Elder ami IIim)I Gibson will make a 
series of si.x aviation pictures that will be 
produced by Hoot, as well as bein;? the star, 
for Universal Studios, Universal City, Cal. 
Thi-odore Roberts, the fjrand olil man of the 
screen, died Deo. 14, l')28. Ho was sixly- 
seven years old. His last pioluro was 
"Noisy Neighbors." 

NO-NAME.— You may write Maria Alba 
and Sally Phipps at the Fox Studios, 140 1 
No. Western Ave., Los Angeles, Cal. Sally 
was born in San Francisco, Cal., May 25, 
1909. She is five feet two, has red gold hair 
and brown eyes. Real name is Byrnece 
Beutter. Maria, Barcelona, Spain, does not 
tell her age. Dolores Costello, Ralph Graves, 
Audrey Ferris and Claude Gilling^vater 
have the important rSles in "Alimony An- 
nie," Warner Brothers Studios, 5842 Sunset 
Blvd., Holh-wood, Cal. 

FAULTLESS DEE.— Never saw John 
Gilbert wear glasses. Where did you get 
that idea.^ John's real name is Pringle, not 
related to Aileen Pringle. He is five feet 
ten inches taU and his next picliue will be 
"Thirst." Renee Adoree has been doing 
Bome free-lance work, her latest is "The 
Pagan." However, your letter will reach her 
at the Metro-Goldwyn-Mayer Studios, Cul- 
ver City, Cal. 

JOAN CRAWFORD FAN.— Joan was 
born in Texas, March 23, 1906. She is five 
feet four, weighs 120 pounds, and right now 
has blonde hair, which is very becoming. 
Her real name is Lucille Le Sueur. Loretta 
Young, Salt Lake City, Utah, Jan. 6, 1912. 
She is five feet two, weighs 98 pounds, dark 
hair and eyes. She danced on the stage 
before entering pictures. 

JUST WONDERING. — Halt, right 
where you are. Betty Comp.son played in 
"The Ramshackle House," Robert Dowling 
her leading man. Her latest production is 
"Weary Iliver," starring Richard Barthel- 
mess. Write Hoot Gibson at the Universal 
Studios, Universal City, Cal. After having 
several different birthdates for Clara Bow, 
I find her correct one is July 29, 1905. L«t's 
hope this is final. Warner Baxter played 
in "In Old San Francisco." 

NOVENA C— Charles 'Buddy' Rogers 
attended the University of Kansas. Clara 
Bow has recovered nicely, thank you. Her 
latest picture will be "The Wild Party." 
Frederic March will be her leading man. 
Write them both at the Paramount Stu- 
dios, 5451 Marathon St., Hollywood, Cal. 
Betty Bronson in "She Knew Men," Warner 
Brothers Studios, 5842 Sunset Blvd., Holly- 
wood, Cal. 

ERLING BERG.— Allene Ray was born 
in San Antonio, Texas. Jan. 2. 1902. She is 
five feet three and a half inches tall, weighs 
117 pounds, has blonde hair and blue eyes. 
Married to Larry Wheeler. Here are some 
of her most recent pictures: "The House 
Without a Kev," "Hawk of the Hills" and 
•The Terrible People." Ullian Gish, 
Robert Harron and Dorothy Gish had the 
leads in "Hearts of the World," which was 
released in April 1918. 

PEG. — John Bowers played opposite 
Dorothy Mackaill in "Chicki." Neil Hamil- 

{Continned on page 116) 




All tired out early 



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Her husband never mentioned 
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What was the reason? 

She did not know — even in 
this enlightened day — that the 
vivacity which she was losing 
arises from a fastidiously cared- 
for, healthy body. She did not 
realize what a large part the 
modern practice of feminine 
hygiene plays in protecting 
and preserving these precious 
qualities. 



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But buy a bottle of "Lysol" 
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today. Do not continue to take 
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The world oSthe famous and the fans of the famous have held out their hands to 

Roscoe Arbuckle. Here he is, as contented as the cat at his feet, greeting guests 

at the entrance of the Plai 



Plugg-ing- for Fatty 



{Continued fr 
direction, that Roscoe Arbuckle was going 
to open the Plantation. 

Cedric Gibbons, art director at Metro- 
Goldwyn- Mayer, rushed over with his 
drawing pencil. "Where shall I begin?" he 
inquired. 

A contractor had wanted three hundred 
and eighty dollars to design and build a 
grape arbor for a canopy of the dance 
pavilion. Gibbons drew the plans for 
nothing and recommended the labor. Fatty 
grabbed a hammer and carried his bulky 
self to the top of a ladder where he 
pounded nails and directed the others. The 
arbor cost him eighty dollars. 

At this time Fatty owned seventy-five 
per cent of the stock in The Plantation. 
But there was not enough money for rugs 
and new benches. When he was ready to 
open, he owned fifty per cent. Friends 
bought the balance to complete the equip- 
ment. 

There comes a zero hour for every man 
manipulating a new undertaking. Fatty's 
zero hour was when the preparations were 
completed. Everyone had helped. But 
would they come to his ten dollar-a-night 
opening? His success did not depend upon 
free help, but upon paid support from the 
public. If the motion picture folk came to 
his place, the public would follow. 

THEY CAME 

DID they come? The salaries of that 
opening night crowd would run into 
millions. They not only came, they literally 
ran The Plantation. 



)w page 42) 

Lew Cody jumped to the radio and in- 
novated a new kind of broadcasting — 
announcements with his spontaneous eulo- 
gies of Fatty. Tom Mix hied his cowboy 
regalia to the orchestra stand and tooted the 
horns in honor of Fatty. Buster Keaton did 
an act; Norma and Connie and Natalie, 
Bebe Daniels, Buster Collier, Marie and 
Kenneth Harlan, Ruth Roland, Ben Bard, 
Marshall Neilan, Charles Chaplin — oh, 
name any favorite and you'll have the full 
list of both guests and entertainers for that 
history-making first evening. They simply 
rivaled each other in " Plugging For Fatty." 

James Cruze hadn't been in a dress suit 
since 1925 when he attended Roscoe 's 
marriage with Doris. August second, 1928, 
he repeated, again in honor of Fatty. "One 
of the highest compliments paid me, because 
Jimmy does hate a dress suit," Arbuckle 
told me. 

POSIES AND PRAISES 
HE flowers— well, it's too bad the 



Tl 



Chicago gangsters weren 't there to take 
a few lessons for their next funeral. Mabel 
Normand, who helped to make the Arbuckle 
comedies famous, sent a reproduction of the 
old screen-Fatty. The same baggy pants, 
the big shoes, even the pudgy shoulders — all 
done in posies. 

Leatrice Joy sent a placque. It read, 
" We owe Mr. Arbuckle a debt of gratitude. 
He has shown the miracle of patience with- 
out bitterness in a world of injustice." It 
now hangs, copied in bronze, in the entrance. 
(Continued on page gj) 




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so Smart... 

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If your dealer cannot supply you, mail $1 direct {speci- 
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Tre-Jur. Inc., 19 West 18th Street, New York City. 



TRE ^ JUR 




"THE TRAIL OF '98" is the current film sensation of America. With 
beautiful DOLORES DEL RIO, Ralph Forbes, Karl Dane, Tully 
Marshall. A Clarence Brown production. The Giant picture of the 
year. Direct from its long run on Broadway at $2 admission. Tell 
your theatre Manager it is the one picture you don't want to miss! 



METRO- GOLD W 




AVER 



Plugging for Fatty 

{Continued from page 90) 



Yet, perhaps, the most startling sight on 
that opening night was the face of Fatty 
Arbuckle. No words can describe it. He 
shed tears, but he shed something so much 
more poignant than tears that no one 
among "those present" will ever forget it. 
A spirit, a gratitude, a bewildered, I-don't- 
know-why-this-is-happening attitude which 
will always bring tears to those who re- 
member. 

And there was the same look on his face 
exactly two and a half months later when he 
talked to me about it. I waited two and a 
half months, on purpose, for this story. I 
wanted to know whether this opening night 
was merely a grand gesture on the part of 
the motion picture people or the first of an 
established series. 

" I — I can scarcely believe it yet," he told 
me. "Not once, but again and again they 
have come down and put on a show for me. 
Al Jolson gave an entire evening. We 
charged ten dollars again and the dancing 
floor wasn't any bigger than that fountain, 
there were so many to be seated." 

THIRTY SONGS FOR NOTHING 

WHERE else would Jolson sing thirty 
songs for nothing? 

Now, there is scarcely a night that some 
world-famous person doesn't stand up and 
strut his line in this continued race of 
"Plugging for Fatty." Stage stars have 
caught the fever and after the Los Angeles 
shows you will find the head-liners repeat- 
ing their best acts, their best songs, their 
best steps in honor of Fatty. 

Fannie Brice, Jack Warner — the only 
time Jack Warner ever sang in public. 
D. W. Griffith is one of the regular attend- 
ants. 

Thursday night — release day for servants 
— has become famous for early dinners. 
And right here we'll do a little "Plugging 
for Fatty" just to keep in step with the rest 
of this city. We'll tell you — just as though 
we were a press agent — that Fatty has 
become a specialist in food as well as in 
entertainment. There are frog legs and 
chicken livers a la a famous hotel in New 
York City. And a Roscoe Royal composed of 
turkey, hamburger and green peppers, with 
mushrooms poking from beneath the glass 
co\^rs. And chicken livers and onions 
sautied especially for Lew Cody — and named 
in his honor. 

The entertainment? Well, aside from the 
volunteer acts of celebrities, it's much the 
same as any cabaret entertainment with the 
exception of Arbuckle 's own contributions. 
His agile press agent sent out word that 
Fatty began in a restaurant. He didn 't. 
He'd never performed in one in his life until 
he opened 'The Plantation. But his press 
agent didn 't worry because Fatty spoke as 
though he'd been at it as long as Texas 
Guinan. 

When it 's time for the show, Fatty ambles 
forward and stamps three times with one 
foot. That means silence. There is silence. 

"Thank you, friends. I call you friends 
because I don't think you'd be here if you 
weren't my friends." 

A perfectly normal greeting. Yet coming 



from Fatty, you smile, and you feel that you 
might just as easily weep the first time you 
hear the speech. 

"I just received word from the Fox Film 
corporation that ' Mother Knows Best ' was 
not written by Aimee Semple McPherson. 

"Now, I want you to listen. This girl 
doesn't sing very loud, so if you're eating 
soup — . Her first will be, 'The Ring Came 
Back With a Bottle of Listerine — ." 

And a little later: "This gentleman will 
sing, 'There Comes A Time In Every 
Woman's Life When a Man Needs Forty 
Dollars '— 

"And here's a song dedicated to Al 
Jolson, Charlie Chaplin, myself and all 
other comedians paying alimony — . " 

A perfectly normal fund of cabaret 
chatter. And yet I have never been there 
for an cNcning without some reference, some 
bit of pathus.^sonio wiled hint of his trouble 
finding its \\a\ into even the paid-for 
entertainment. ' One night he told this 



•■'I I 



•Cat 



■ou tell n 



n get 11 



the 



" "Pardon me, young lady, but can you 
tell me how I can get into the movies?' 

Ah, it's a strange place, that Plantation. 
It 's like any really successful screen comedy. 
A riot of fun as a veneer for a real sob-story. 
The type of thing which made Charles 
Spencer Chaplin a success in this country. 

NEARLY HIS OLD SALARY 

BUT it's paying. The first month it did 
•850,000. The second it fell off a little. 
But the third—. 

Well, he admits with a smile which re- 
minds you of the beatitudes — if you read 
them — that he received approximately 
86000 a week from Famous Players Lasky 
and that today he is making almost as much 

His car's out of hock and the money he 
owes Joe Schenck is reduced to twelve 
thousand. 

And yet — he doesn't like it. "It seems 
sort of strange that a man of forty-one 
should be entering a cabaret just at that 
time when he should begin to tire of it. 
But — well, it means a good living and that 's 
about all we can aisk out of life, a good 
living." 

He had planned to open an arcade in a 
little room to the rear of the dance hall. 
"Like the one Sid Grauman started with," 
he described it. And show all the early 
pictures — including those of Fatty Arbuckle. 
In fact. Lew Cody announced one evening 
that the Arbuckle comedies would be shown 
for either a penny or a nickel. But the 
business grew so rapidly that they had to 
have that space for more tables. 

The pictures were never shown. 

Will the pictures of Roscoe Arbuckle ever 
again be shown? 

If they are, they'll go over in this city. 
The motion picture people will see to that 
just as they nave seen to his success in The 
Plantation, through their consistent "Plug- 
ging for Fatty." 



TTSUALLY writers of articles fall into one of two classes: they either are gifted 
in getting information and less so in presenting it; or their skill lies more in the 
manner of doing the work than in the value of its content. The exception to this 
are the writers on the staff of Motion Picture. They are singular in their aptitude 
for both finding out the facts and dealing with them with a refreshing dexterity. 
Which makes Motion Pictlre Iwth worth reading and easy reading. 



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The cleanest indoor sport in the world, as practised by an enthusiastic addict, 

Jane Winton. This picture was taken just before she stepped onto the scales, 

at the right 



Jane Comes Clean 



{Continued from page 4 



this frail girl's life. The burning, shameful 
words that, once on the printed page, would 
bring me fame and many rich offers from 
publishers of confession-magazines, as writ- 
ers call the confession-magazines. 

"I was born in Philadelphia," said Jane. 

And sure enough she was. The fact marks 
the one indiscretion in Jane's few crowded 
years of life, Romance and Adventure. It 
really wasn't her fault, as any intelligent, 
fair-minded person will agree. But you can 
imagine how she feels about it. Take your- 
self, for instance, in similar circumstances. 
Yet the Winton loyalty to the Somnam- 
bulant City is such that even now she makes 
pilgrimages to the girlhood shrines in her 
frequent aerial journeyings from Broadway 
to the Boardwalk. Weather permitting, of 
course. 

As soon as she was old enough fully to 
realize that she was living, as its natives call 
it in the burg of bed-time stories, she awoke 
a ticket-seller in Broad Street station and 
made him take over three dollars for a one- 
way to New York. And ever since she has 
been trying to forget. Get the subtlety when 
I say, "She made the ticket-seller." What 
I mean is, that phrase, "She made the 
ticket-seller take the three dollars." Even 
then Jane was that way. She can't drop into 
the jeweler's to buy some simple bauble, but 
that one of the firm, after one glance at her, 
goes absolutely ga-ga and tries to load her 
down with a show-case full of diamonds. 
During her trip to Europe last summer, the 
captain tried to give her the boat. Now I 
ask you, what would Jane do with a boat? 



Why, in all of I.os Angeles there isn't even a 
river to sail it in. And they say the upkeep 
is tremendous. 

FASHIONED FOR THE "foLLIEs" 

NOW when Jane got to New York, who 
do you think she bumped into? My 
dear, you'll never guess! No, not Jimmy 
Walker. J. P. Mor. No, no you're cold. 
I'll have to tell you. Flo Ziegfeld. Yep, 
Flo of the Follies, himself, and not a "Show 
Boat." Not only that, but Ziggy sent one of 
the Shuberts or somebody chasing down the 
Main Stem after her. What the "Follies" 
need Jane has. If she had stayed in them a 
little longer, it's six to five that some philan- 
thropist, doing his daily dozen for art and 
beauty, would have bought the "Follies" 
and presented them to Jane, neatly wrapped 
and tied with blue baby ribbon. But she 
checked out with a clear conscience and a 
collection of mash notes on gilt-edge sta- 
tionery that would still sound funny if read 
by a lawyer to twelve strangers. She quit 
Broadway for Beverly, the "Follies" for 
films, Ziegfeld for Zukor. 

Since then there have been parts aplenty. 
And pay envelopes to match. Under Jane's 
keen management, skinny, unimpressive 
one-dollars have added strings of fat and 
opulent noughts to her bank balance. Her 
skill in the alchemy of finance has turned 
real estate and oil into gold. Which is ail 
very well in its way. But vaulting ambition 
is impatient. And Jane strains for the day 
that will bring her that one big role which 



will provide the opportunity we all await. 

Unlike most of us, however, Jane hustles 
while she waits. Not for an instant does she 
regret the r61es which have shown her as an 
old lady, a middle-aged woman, the crass 
elder sister of a fluffy debutante, a sailor's 
sweetheart. In each characterization she 
has added to her versatility. With every 
r61e she has learned something. And the 
store of knowledge will one day stand her in 
good stead. She is preparing for the chance 
that must come. 

PURLOINING THE PICTLRE 

THE little busy bee hasn't a thing on 
Jane when it comes to improving each 
shining hour. Take the talkies, for instance. 
They have brought great changes to the 
movies. But the great majority of players 
continue to ignore the handwriting on the 
screen. When they awaken to the fact that 
there is a new regime, it will be to find them- 
selves working the front ends of trucks, or 
the rear ends of cafeterias. Mile. Winton, 
however, is the exception to this rule as she 
is to many others. Before the cops cleared 
the sidewalks of the mob besieging the box- 
office of the first talkie show, Jane had en- 
gaged a skilled vocal teacher. She spent, and 
is spending, arduous hours in the develop- 
ment of a naturally lyrical voice. Tiie re- 
sult being that she surprised all Hoih wood 
by stealing the first audible photoplay in 
which she appeared. Which, incidentally, 
was the first to be made by Universal. 

As if these activities were insufficient, 
Jane has plunged with her accustomed en- 
thusiasm into the deep waters of authorship. 
Ten chapters of her first novel are com- 
pleted. Publishers promise a best-seller if 
the next ten are as good as these. When 
there is nothing else to do, Jane, just to rest 
herself, keeps up to date on dancing. She's 
lithe and supple as an athlete. Then, of 
course, there are the social duties which de- 
volve on even,' mistress of a Hollywood 
menage. Off screen, you know, Jane is Mrs. 
Charles Kenyon. And Charles Kenyon, 
playwright and litterateur, has made his 
home the center of a circle of kindred and 
cong:enial spirits, men and women of mental 
brilliance whose abilities have brought ac- 
complishment. Over this salon Jane pre- 
sides as to the manner born. So to her 
other talents she adds the distinction of 
being a good wife and — but let's not get 
ahead of the story. 

There'll be lots more to tell about Jane 
Winton. Like the book she is writing, only 
a few chapters of her life's volume now 
stand completed. The lady with the 
emerald eyes seems something of a child of 
destiny. And hidden in the soft fragrance 
of her loveliness is a strength of will that 
must mold this destiny to her desire. What 
she wants, she'll get. Always has. Alwavs 
will. 



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Color? Flower? Animal? Actor?" The 
victim filled in the blanks according to his 
or her mental pabulum — and there you 
were. The rest was up to the printer, which 
was as it should be — now. 

NO foolin', indeed 

T SAID, "I'm forarevi 
•I- and goodly old custoi 
questions and you can 
blanks. We'll give this or 
great American public 
foolin'." 

The following is the result, so 'elp us! 
And if you don't think it's the last word in 
efficiency, it's because you've been pap-fed 
and spoiled with elaborate eulogies. 

Let's go! 

Q. Your favorite flower? Come on, now, 
think fast. 

A. You wouldn't know how to spell it if 
I gave you a hard one. Oh, well, white 
orchids, then. If anyone sends me lavender 
ones, I put 'em in the sink. 

Q. Favorite book, if you've ever read 
one? 

A. Bank book, you zany. Well, if I 
must: Elbert Hubbard's "Little Journeys." 
They contain everything and — 

Q. Poem? 

A. Swinburne's "Dolores." That man 
gave birth to It. 

Q. Song? 

A. That Scotch song, "I Can't Give You 
Anything but Love, Baby." 

Q. Actor? 

A. I'll take one old enough to be harm- 
less. I'm not being facetious, I mean it. 
Oh well, then — John Barrymore. 

Q. Actress? 

A. Louise Fazenda. She — 

NUTTY ABOUT FILBERTS 

Q. Candy? 

A. Oh, Gawd, how I hate chocolates! 
Er — sugar-coated almonds called filberts by 
the intelligentzia. 

Q. Food? 

A. (with sympathetic gaze at me) No 
food I don't love. Stewed apricots go to the 
head of the class. 

Q. Drink? 

A. Don't be funny — oh, pineapple ice 
cream sodas. 

Q. Sport? 

A. Whoops! I'm not being ribald. I 
mean, I can't do anything. I mean I can't 
do anything out of doors. What I really 
mean is that I don't know which end of the 
tennis racket you hold. 

Q. Game? 

A. Wh — oh, parchesi and Black Jack. 
(Not Dempsey.) 

Q. Chief ambition? 

A. To write (of course) short stories. 

Q. Favorite city? 

A. Hollywood — and this is not propa- 
ganda. Hollywood has everything, the 
sophistication of Paris, the climate of 
Southern France, houses that seem to smile 
at you, clothes if you have the money to 
pay for them — 

Q. Favorite vices? 

A. Lying awake nights thinking of the 
parts I should have had and how I should 
have played the parts I did have. Shopping. 
Asking for second helpings. 

Q. Favorite animal? 

A. Crackers. 

COME, COME, ESTELLE 

Q. Favorite picture? 

A. I'm the best fan in the world. I love 
all pictures. I'm easily — 

Q. (Repeated firmly) Favorite Picture? 
We are not interested in dign 



A. "Seventh Heaven" and you can go 

I mean, "Seventh Heaven" 

was marvelous without benefit of It or 
any dirt or — 

Q. Worst enemy? 

A. My own self-consciousness. I detest 
meeting new people. 'Fraid to. Even with 
women I can only go so far and then I get 
all stifif and rigid and — 

Q. Severest critic? 

A. I'd like to say Jack, but he Isn't be- 
cause he can't be induced to so much as 
look at one of my pictures. I guess I'm my 
own worst and severest critic because — 

Q. Favorite hobby? Kindly do not 
step on the gas every time you reply to 
queries, Estelle! 

A. Collecting elephants and how do you 
like It? Some day I'll have so many of them 
they'll melt Into one and it'll be a white 
elephant and I won't know what to do with 
it and — ■ 

A HOST OF PET HATES 

Q. "Favorite hates? You can talk to the 
white elephant, Estelle, I'm sure. 

A. Trips to Europe. Sea travel. Ap- 
pointments made a week ahead of time. 
They weigh me down thinking about them. 
All dates before noon. Looking through 
telephone directories. A dinner partner 
who can't dance, knows nothing about 
pictures and everything about some subject 
that Is Greek syntax to me. Talking salary. 
I get the ague and can't talk at all, look as 
disbelieving as you please. Orchid color. 
Trying on clothes In shops. Figuring out 
income tax. Tax experts in general. I've 
got a mad at the whole species because they 
will not allow me to take off for massages 
without which I couldn't take off at all and 
therefore could not be myself. Smoking 
cigarettes. Killing any animal. No one has 
a right to kill any animal that cannot defend 
itself or is not necessary for food purposes. 
It's a kind of murder. An animal Is as im- 
portant in Its kingdom as a human is In his 
or hers. Throwing away flowers that are 
not dead. I believe flowers have a kind of 
life of their own, important to them, vital 
to them. Trees, too — 

Q. Favorite loves, habits, etc? 

A. Changing my personality from time to 
time Is one of my favorite occupations or 
pastimes, If that's any help to you. Or 
maybe It's a vice, who knows? I dote upon 
being the vamp type one day, with dark 
fringes of hair and sullen, imperious mouth, 
and the lisping ingenue the next, wearing 
rompers and things. Whenever I fail to get 
a part I've hoped to get, I cut off some hair 
and feel better. Fortune tellers. 1 adore 
them and never believe a word they tell me. 
Costume jewelry — especially when given to 
me. Epsom salts baths. Hate cold showers, 
which Item I neglected to mention In the 
hates but must here because It's my belief 
that people who crave them are frightfully 
abnormal. 

I put down pad and pencil, knife, fork 
and spoon. All well utilized. 

We both heaved enormous sighs of relief 
and groaned, "Thank God, that's over for 
the present." 

Estelle cast the dark fires of her eyes upon 
my written wolds. She said, "If a psychol- 
ogist should get a hold of this, he'd know all 
there is to know about me." 

Hence, if there is so much as an amateur 
psychologist among you, you'll have the 
pleasure of knowing Estelle better than — 
say. Jack Dempsey. 

Estelle said "Let's go do some shopping 
or take an Epsom salts bath." 

We went. Never mind where. Don't get 
fresh. 




Journeys end, for Nick Stuart, in meeting 
Sue Carol. When he got back to Los Angeles 
from doing just what the title "Chasing 
Through Europe" says, there was Sue at 



Jaime Del Rio: 
Innocent Bystander 

{Continued from page ji) 



H 



HER FRIENDS HIS FRIENDS 
E made a brave fight of it, though. He 
• tried to enter into all the activities of 
her new life. He made her friends his. He 
wrote scenarios, hoping to earn a success 
equal to hers and make her proud of him. 
When the Academy of Motion Picture Arts 
and Sciences held their first dinner, he sat 
in the lobby of the Biltmore Hotel and 
waited patiently for her, overhearing the 
words of passersby, "That's the husband 
of Dolores Del Rio, the movie star." 

Two years after the Del Rios came to 
Hollywood they took a vacation trip to 
Honolulu with a party of picture people. 
"I think," Jaime wrote a friend, "that 
things are going to be all right. This is like 
a second honeymoon." He and Dolores had 
their pictures taken on the deck of the ship. 
There was a third figure in the picture, the 
man who discovered the little Mexican 
beauty and made her a star, Edwin Care we. 

It is the innocent b>-stander who t;et- 
hurt. Jaime Del Rio was an innocent >>>- 
stander in Hollywood; and the forces that 
ferment under the kleigs, ambition and en\-> 
and discontent and pride, made him their 
victim. There were false friends to counsel, 
"Go away a while. She will miss you. She 
will find out how much she needs you." 

Jaime Del Rio left Hollywood.' He told 
reporters with a tinge of bitterness that he 
could not stand it to be merely Mr. Dolores 
Del Rio and later apologized humbly to her 
for his words. A play on which he was 
collaborating, "From Hell Came a Lady," 
served as an excuse to go to New York and 
there wait for the miracle to happen, for a 
beloved voice to call him on the long dis- 



1929 



STl\(;UISHED\ 
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The days of creel sport: Richard Arlen angling for fish and Jobyna Ralson — in this 

case very much Mrs. Arlen — wondering if she can find a frying-pan small enough 

to make them look impressive 



tance 'phone and tell him that the last two 
years had been only a bad dream. 

Instead, one day, the telephone bell rang 
and the voice of a press agent informed him 
curtly that Dolores intended to sue for a 
divorce. That same press agent tells me 
that there was a silence for a moment and 
then, three thousand miles away, he could 
hear the dreadful tearing sound of a man 's 
sobs. 

MESSAGES TOO LATE 

"He was all broken up," he nods, "but 
after he knew she really wanted the divorce 
he stepped out of the way. He was a little 
Castilian gentleman." 

How quickly one falls into the past tense. 
Jaime Del Rio had died only the night 
before. The newspaper on the desk before 
us was filled with the hysterical cablegrams 
which Dolores had sent to her ex-husband 
while he was dying. "Fight, Jaime, fight!" 
"Wish I were with you, baby, because I 
love you." "Keep up courage, darling." 

"Jaime Del Rio Dies Whispering 'Do- 
lores','' the headlines proclaimed. 

"And that's not just newspaper bunk." 
The press agent rapped the two-inch 
letters. "He thought of her all the time, 
before the divorce and since. He used to 
write me because I 'd been their friend and 
his letters were full of her. I 've got some of 
'em here." He brought them out of his file, 
the outpourings of a man's soul, methodi- 
cally entered under the letter "J." 

"God knows I always did my best for 
her," one letter ran. "I'm happier now, 
thank the Lord," began another. "I went 
through Hell in New York. But I am slowly 
recovering my balance. Of course, there are 
wounds that nothing, not even time, can 
heal." 

"Jaime had a tough winter of it in New 
Yoric," the press agent said. "You see, in 
spite of his palaces and lands, there was 
never much real money from his Mexican 
properties; and after Dolores got the 
divorce he wouldn't take help from her any 
more. I know for a fact that he lived in 
very humble quarters in New York, and 
one time even tried to get work as a clerk 
in a department store, under an assumed 
name so that the papers wouldn 't get hold 
of it and embarrass her. 



POVERTY AND PLAY-WRITING 



"He was writing a novel about the under- 
world and the only friends he made that 
year were gangsters who took him about to 
their hangouts for atmosphere. Once in a 
while he would take some tough and his girl 
to dinner in a swanky hotel. They wor- 
shiped him. He began a play about Holly- 
wood, showing what really happened to 
human beings there: his own experience and 
Dolores'. The American Play Company 
thought so well of it that they sent one of 
their men, Mr. Stein, to Europe with Jaime 
to study German technique and finish the 
play." 

"We shall go to Paris in maybe one, two 
year," Dolores Del Rio told me joyously 
when I interviewed her several years ago. 
"We shall live ver' simply — like students — 
in the Latin Quarter. I shall keep the house 
and sing, and Jaime shall write. It will be 
the — how you say? — adventure." 

And now the two were in Paris, but how 
different from their plans. Dolores Del Rio, 
the famous movie star, traveling with her 
mother and her producer, was staying in 
one of the gilded hotels near the Place de la 
Concorde. The man whose name she had 
kept when she dropped him from her life — 
he saw it in staring electric lights every- 
where — lived across the Seine in a humble 
pension. 

They met. He could not be there in the 
same city and not see her; and perhaps with 
all the new, thrilling life of a picture 
celebrity, in that new romance she had not 
been able to forget "her Jaime." At any 
rate they met, secretly, so that the news- 
papers should not get hold of it, in a shaded 
footpath down by the Seine and walked 
there every morning among the bourgeoisie 
lovers. And now for the first time Jaime 
Del Rio gave up his secret hope that some 
day she would come back to him. Holly- 
wood had got Dolores. It was Hollywood 
that was his rival. 

Yet he wrote to her when she came back 
to America — love letters. She received one 
from him calling her by her old, old love 
name only five days before he died. 

The doctors spoke learnedly in Latin 
terms of his sickness. Doctors don't recog- 
nize the symptoms of a broken heart. 




Hollywood Wetiquette 

(Continued from page 53) 



D 



disarranged before they arrive and look at 
the fix you will be in then. 

The more important ones will come in at 
any time from ten-thirty on. If they are 
very important, don't expect them until 
eleven-thirty. 

And here is a little tip for you : take a note 
book and mark down carefully the relative 
lateness of each after-ten-thirt>- guest. 
When you get through, you will have an 
accurate gage of the importance of e\ery 
one of them. The last one to arrive will be 
the most important one there. The most 
important one of all won't come. 

THOSE DEPARTING GUESTS 
OX'T be annoyed or upset if groups of 
your guests leave abruptly in the mid- 
dle of things to go on to other parties. It is 
quite ail fait for them to do that and the 
chances are that if the party they iea\e to 
attend isn't as good as \ours, they will all 
come trouping back and >ou will have them 
on your hands at breakfast time. 

Anyway, people will be leaving other 
parties to come to yours, so the thing evens 
itself in the long run. 

Oh, yes. And this is important: be sure 
to provide for at least twice as many — if not 
three times as many — people as you invite. 
Because if you are at all popular, a great 
many people will come to your party whom 
you do not expect. In fact, the most hu- 
miliating thing that can happen to a Holly- 
wood hostess is to give a party to which 
only the people she has invited come. 
Ever\one knows from that where she 
stands! 

Another thing you must be sure to re- 
member if you are giving a party, is to 
make an entrance. 

. The hostess must not be on hand to greet 
her guests as they come in. Good gracious! 
That would never do. 

She waits until they are all assembled and 
then she comes down the staircase, holding 
a fan behind her head — like the ladies on 
insurance calendars — swaying gently and 
with one white hand resting lightly on the 
stair rail. 

The hostess at one party recently came 
out onto a balcony, built into the living- 
room for that express purpose, waved her 
large ostrich fan, took her pose and held it 



for a few moments and then trailed grace- 
fully down the stairs in the most fetching 



HER DELAYED TRIUMPH 

UNFORTUNATELY all the guests had 
gone to the kitchen — they will do that 
if you don't keep an eye on them — and there 
was only one somewhat surprised male who 
had gone in to look for a cigaret, to witness 
this ravishing performance. 

The poor hostess was extremely upset 
about it and repaired to the kitchen to com- 
plain of the matter. Her evening was prac- 
tically ruined. 

Later on, however, she was repaid in part 
when she went upstairs at one o'clock and 
returned in a suit of Chinese pajamas. This 
time she slid down the banister and was a 
great success. 

That is another thing to remember. At 
one o'clock when the party begins to get 
intimate — and it can hardly be prevented 
from getting like that — you must go up and 
put on pajamas or, if you haven't any, then 
a negligee or almost anything of the sort 
will do. 

The idea is to dress to suit the progressing 
atmosphere of the gathering. 

1 hese things, of course, are recommended 
as etiquette for hostesses. 

If you are a guest at a party, it really does 
not matter much how you behave. You can 
do almost anything that occurs to you and 
the chances are that no one will pay the 
slightest attention. 

If you are not pleased with the arrange- 
ments, just say so. Maybe something will 
be done about it. If not, you can go home. 

WRITERS GET HUNGRY 

A CERTAIN prominent novelist ar- 
rived at a dinner party only an hour 
late. The lady was very hungry. The 
hostess had not come down and none of the 
other guests had arrived. The novelist sat 
for some moments, tapping an annoyed foot 
and contemplating her hunger. Then she 
left. An hour or two later the hostess re- 
ceived a telegram from her. "I wanted my 
dinner," it read. "So I came down town 
and had it. I may be back." 

You see the rules for the behavior of 
guests are very elastic. 





''In Rags or Riches!" 

Vy IIETHER she's c 
" as a poor orphan 
(he storm or the wealthy I 
Lady Gwendolynne Vere [ 
de Vere there's"^one thing j 
the screen star insists 01 
comfortable shoes. For * 
how can she successfully 
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That's why she wears Robyn Health- 
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The sulphur in Rowles Mentho Sulphur 
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The Love -Life Story of 
Virg-inia Bradford 



thought I loved; he, too, seemed a protec- 
tion against the cruel world around me. But 
none of those things is ever a logical excuse 



A BETTER FELLER THAN SPELLER 

I MET Raymond Griffith working in 
"Night Club." I had a close-up with 
him. He asked where he could call me. I 
was restless, unhappy. Here was a big star 
— a man who could help me — showing in- 
terest. I gave him my telephone number. 

He was the first sophisticated man in my 
experience. He was the first one to tell me 
there is no good and no bad in this world — 
just good taste and poor taste. He used to 
talk to me about Nietzsche; he even spelled 
it for me. I was so interested that I went 
home and looked up Nietzsche and when I 
found he had spelled it wrong — well, not 
even that could dampen my ardor. 

Raymond Griffith's fascination lay in the 
fact that he was different. To me, still im- 
bued with the ideals of Memphis, he was 
bad; he was shocking. I thought I should 
reform him. Some time in her life every 
woman meets a man who makes her feel it 
is her duty to love him and reform him. 
Raymond Griffith was that man to Virginia 
Bradford. 

There were months and months when I 
didn't see Raymond, but I cut out all the 
clippings about him. He was never out of 
my mental horizon. 

IN LOVE AGAIN 

ONE night, I met Max Marcin, the play- 
wright, at a dinner. I had my hair 
down my back like a little girl. I had been 
taking dramatic lessons; I recited some 
pieces. He said, "Oh, what marvelous 
talent! I am going to do things for you, 
little girl. You are deserving. All you need 
is the right handling; the right inspiration 
and I'm not going to make love to you, 
either." 

For nearly two years he undertook to help 
me; he did help me. But he forgot that he 
was not going to make love to me. I thought 
my salvation lay in his help; his inspiration. 
I fell in love with him. I suppose every girl 
meets this kind of man, too. The kind that 
would mold her, inspire her — imbue her 
with the idea she must care for him if only 
for gratitude at his interest in her. 

He went to New York; I signed with De 
Mille. I learned that Max had found some- 
one else in New York who needed the proper 
inspiration, the proper handling. It may 
have been true or not true, but I heard it. 
I started running around with Frank 
Marion. We were playing the juvenile 
leads in "The Country Doctor." 

Frank was the first man of my own age 
with whom I had gone places. The first 
kid-romance of my experience. Just two 
youngsters crying for the moon of fame 
together. Ambition brought us together, 
but opposition lengthened our mutual in- 
terest. The studio didn't think it was wise 
to mix romance with business. We were to 
be teamed on the screen, but they didn't 
want us teamed off it. Then Max Marcin 
returned from New York. He was furious. 
"What! I've nurtured you : along for two 
years and you expect me to see you waste 
your talent on a mere boy!" 



w 



FRANK IS FORBIDDEN 

HAT is there in a woman which defies 
interference and opposition? A mo- 



om page 45) 

ther says, "You can't go with that boy"; 
and he's sure to be the one you slip off with 
and marry. A studio says, " No." A friend, 
who you feel has more or less foresaken you, 
returns to say, "No." And you fall in love 
to defy them. Besides, Frank and I were 
having such good times just talking and 
talking and talking about what life meant 
to young people. 

We went together for seven months — 
until I went over to play the ingenue bit in 
"Two Lovers" with Vilma Banky and 
Ronald Colman. Now, there were just two 
men in Hollywood, whom I, more or less, 
thought it was my duty, as a young girl, 
to fall in love with. One was John Gilbert 
and the other, Ronald Colman. I never 
worked with John, but I met him one night 
at a dinner. He took my hand, looked into 
mj' eyes for a moment and then said, 
"Colossal." I was so busy trying to figure 
out what he meant by such a statement 
that I forgot I was supposed to fall in love 
with him; I lost all of my interest. But I 
didn't lose interest in Ronald. I was deter- 
mined to find out what was behind his calm, 
quiet reserve; his steel armored exterior. 
Ronald does that to women. He tantalizes 
them with the desire to locate and analyze 
the real Colman. I was determined to do it. 



THE CONTEST WITH COLMAN 

MY first step was to develop a manner 
as cold and reserved as his own. You 
see, I had learned a great deal about men in 
the four years since I had come, the inno- 
cent know-nothing baby, from Memphis. 
Hollywood had left its mark upon my in- 
telligence as well as my emotions. I now 
used the first and reserved the second. 

One day Ronald and I sat on the set 
together. 

"Are you married?" he queried. 

"No," I answered, thinking now I was 
really getting started. But he dropped the 
subject. Didn't even ask for my telephone 
number — which was not the game of men, 
played as I knew it. 

Another day we sat together and he asked 
if I played tennis. For a moment I didn't 
know what to say and then I thought, 
"Well, if I say 'No,' maybe he'll offer to 
teach me. So I said, "No, but I'd like to 
learn." 

"Too bad you don't play. It's a nice 
game," he responded. 

Somehow, that only made me more in- 
terested. One evening we walked off the set 
together. He kissed my hand, kissed my 
arm where it bends at the elbow. He was . 
the first man to kiss my arm in that manner. 
I was thrilled, but pretended indifference. 

Another night he drove me home. (It was 
the breaking point of my romance with 
Frank Marion. He saw Ronald with me 
and was furious about it.) It was twilight; 
the sun was setting in great streaks of red 
and yellow glory. It was tremendously 
romantic! 



DISPASSIONATE PASSION 
"T^ID you put them there on purpose, 
i-^ between us?" I asked him. 
"No! No! No!" he said, very English. 
Then he removed them. But I sat way over 
in my corner and didn't creep near him. 
Suddenly, I sighed. 

"Why do you sigh?" he asked. 
"Oh, it seems as though nobody loves 
me." 

" I love you." As matter of fact as though 

he had said, "Have you had your dinner?" 

{Continued on page 113) 



Her Regrets to Royalty 

(Continued from page 4S) 

I ing. Eferyt'lng. He ees well again. 

" I go back to Paris and he ees once more 
seek. 

POOR LEETLE LIU 

" T TE haf my peecture by hees bed and 

XT. every morning hees little seestcrs 

they come and bring fresh flowers for the 

two little vases by that peecture. Eet ees 

1 sweet — non^ 

I "Zen I come back once more to nerlin to 
f make a peecture. Ferdinand's father — ze 
i Crown Preence — send for me. I am afright. 
[ "I think, 'Oh! He ees very beeg, impor- 
i tant man. Maybe he ees displeased zat hees 
i son ees sick because olT me. He can say I 
can come no more into Germany. An' if he 
says it, I cannot.' 

"Vou onderstand — he ees so beeg a man 
that when von llindeiiburg, the president, 
writes to hcem, lie signs the letter, 'Your 
servant.' Yes. 1 le cis that beeg. 

"Oh! I am alright. I feel very little. 
"But I go. 1 go to tiie beeg castle where 
the Crown Preence ees living. I go inside 
and I walk down a great hall where all the 
ancestors hang upon ze wall. Wit' w'iskers, 
you onderstand, on their chins. Zey look at 
me stern as if zey say, 'Lili! Wat you do 
here — honh?' I wonder, myself. 

"I go into ze beeg salon — long, long. I 
walk down ze great room and at ze end ze 
Crown Preence sits, behind a beeg desk. 
He say, 'My child.'" 

Here Lili paused, wrinkled her brows in a 
ponderous frown and spoke in a deep voice 
in imitation of the stern bass of royalty. 

" I say, 'You want to see me, Your High- 
ness?' " she continued. 
"He say, 'Yes.' 

"I wait. He look at me. I feel littler, 
still. At last he say, 'My child, do you like 
ze way you live?' 

" 'Oh, yes!' I reply. 'I like my work. I 
am happy.' 

SHE THEENK IT OVER 
"ILJE say, 'But eet ees a gipsy life you 
•1 •■• lead. Ees eet not sometimes tiring? 
Ees eet not hard for little girl like you?' 

"I say, 'No! I am happy. I like my 
work. I mus' live like this an' I do not 
mind.' 

"He say, 'Some day you mus' get mar- 
ried. Yes?' 

" I theenk that ofer. 'Some day, maybe,' 
I reply. 'Not for long, long time!' 

"He shake hees head. 'Suppose — ' he 
say. 'Suppose — a nice boy, he lofe you very 
much. He has a beeg name. He can gif you 
a titles. He want to marry wit" you. Wat 
you theenk then?' 

" I do not know w'at to say to that. I wait. 

"He say, 'Will you theenk it ofer?' 

"I reply, 'I know w'at you mean. Your 
Highness. I am honored. I will go back to 
Paris and I will theenk!' 

"He say, 'Very well. That will do.' He 
get up and come around the desk and he 
kees me here — on my forehead. He kees 
mv hand. He say, 'Goot-bye — my daugh- 
ter." 

"An" I go away — back to Paris to theenk 
about it. 

"My publicity man, he say, 'You mus' 
marry wit' ze Preence. Eet ees goot pub- 
licity.' I say I will theenk. 

"Then — I do not know jus' w'at happen! 
Sam Goldwyn, he ees in Paris. He sen' for 
me and nex' theeng I know I am on boat for 
America wit' contrac' 

"One morning I look at that contrac' and 
eet has options in eet. I do not know w'at 
options are. I try to fin' out. I sit down and 
write to Ferdinand and say, I am on boat 
for America — going to Hollywood — wit' 
options! I cannot know w'en I come back. 
(Continued on page loj) 



uour 




HAIR 



Has Added Loveliness 

— when Shampooed this way 

Why Ordinary Washing . . fails to clean properly. 
Thus preventing the . . Real Beauty . . Lustre, 
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THE beauty, the sparkle ... the gloss and 
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LUCILLE YOUNG, 

8513 Lucille Young Building. Chicago, 111. 




In Miami he who sets out to see America first is in for difficulty, for parts of Venice 

have been duplicated with exacting care. Strangers in the city frequently wonder 

whether the cops on the corners are going to ask them for passports 



Your Neighbor Says . 

{Continued from -page dj) 



standing characteristics. If an actor tries 
to put on airs and develops the high-hat, he 
is dropped like a hot potato. He is shunned 
into being regular. 

"Why, I wasn't in town any time at all 
until I had been introduced to some of the 
biggest people in the business. The first 
party I attended was at the Cocoanut 
Grove. It was given by Carl Laemmle, Jr., 
and ever so many people came over to our 
table and chatted for a while. I met Jack 
Pickford, Roland Drew, Buster Collier, 
George Melford, Richard Arlen, Sally 
O'Neil, Claire Windsor and Marion Davies. 

DREAMS COME TRUE 

GEE! That first night in a Hollywood 
atmosphere was just like heaven. 
Everybody was so nice to me. Why, I even 
danced with Buddy Rogers and Dick 
Arlen. There sure aren't many girls who 
can say that. And they are both just as 
wonderful, as we all think they are. I guess 
even better than we think they could be. 
Especially Dick: he's so tall and handsome. 
Such a gentleman. And when he dances 
with you, you just feel as though you've 
got exactly what you've been dreaming 
about and hoping for." 

Did I say she was a California booster? 
I meant it. Now, I'll see how observing she 
really has been. "Who," I asked, putting 
my glass down, "is the least like you 
thought he would be?" 

"Oh! Mr. Cody— Lew Cody. He isn't 
at all like I thought he'd be. I kinda figured 
I'd find him standing in a sheltered doorway 
trying to entice girls away from their 
mothers. He surely is a lot different from 
that, I'll say. I met him at a huge party in 
Beverly Hills. I watched him for a whole 
hour before I actually met him. And all 
that time he sat alone in a big chair by the 
fireplace and smoked. And as he smoked, 
he watched. Just like the master mind over- 
seeing the crowd." 

And this is what she told me when I 
asked her what was the most exciting thing 
she had done. 

THE THRILL OF THRILLS 
" \/f Y biggest thrill?" she asked, with 

J-Vl laughter in her voice. "Oh, I 
worked in pictures two days — that's the 
largest moment I've ever had. You can't 
even dream what that means to a girl. 



Really worked in pictures; that's goin' to 
be my big bragging point when I return 
home. And what's more, I've done some- 
thing that a lot of stars haven't done yet: 
I worked in a talkie. Hollywood has gone 
talkie crazy. 

"My first day in pictures was spent at 
the Christie Studio. I put on make-up and a 
bathing suit just like the rest of the girls. 
All we did was have fun all day long. The 
sound-stages at the Christie Studio are 
enormous. Room after room stacked with 
machinery and recording devices. Large 
wax records one inch thick are used to 
record the sounds. But even more enjoy- 
able than the talkie apparatus were the 
girls I worked with. They all seemed to 
realize that I was a newcomer, and every 
kindness and consideration was shown me." 

"And Mack Sennett?" I suggested. 

"Just as different as day and night," 
Ruth exploded. "It is a business proposi- 
tion there. More attention is paid to 
details. Pit is really harder ;fork than the 
first studio. The sound-device here is Mr. 
Sennett's own. It is entirely different from 
the other. Instead of rooms and rooms filled 
with machinery, he has only a little box — 
oh, about two feet square — in which all the 
sound is recorded. Instead of huge records, 
Mr. Sennett uses light-rays that are re- 
flected right on the film. Instead of working 
in three or four scenes a day, as they used 
to, they have a hard time getting one scene 
done in the talkies." 

WHEN BOOST MEETS BOOST 

THEN I asked her what Florida thought 
of Hollywood. Hold your hat. 

"Folks in Miami think Hollywood is all 
right. They think Florida has the finest 
fruit and the better climate. But Hollywood 
makes a similar claim. As a matter of fact, 
Hollywood has the better climate; but 
Florida has the better fruit. Now that's 
settled. But there are a lot of differences 
that are just as important to me. Hollywood 
has mountains — Florida hasn't so many. 
Florida has more beautiful women — that is, 
in winter. But I suppose Hollywood has 
the most beautiful. 

"Really, the reason I like Hollywood so 
much is because there is activity. A lot to 
do. Everybody is busy. In Hollywood they 
cry when they aren't working. In Florida 
they cry when they have to." 



Her Regrets to Royalty 

(Continued from page 101) 

AND MANUEL AND CARLOS 

\ "npHAT ees all. Zees morning I have 

1 postal from Louis Ferdinand, saying, 
'Haf you forgot all your ol' frien's?'" 

She scurried about and found the postal. 
Sam Goldwyn had saved her from theenking 
about the royal marriage. Lili appears to 
have been hugely relieved about it. 

"Who was the other one?" I wanted to 
know. These reminiscencesabout royalty and 
VDt-nots were proving most entertaining. 

"Ze other — you mean Manuel? Oh, no!" 
She caught herself up, sharply. 

"Manuel?" I queried. I had not heard 
of him. 

" Manuel of Portugal," she admitted with 
— almost — a blush. "I did not mean to 
speak of heem. We were not engage'. Not 
really. We were jus' goot frien's. 

"Carlos of Bourbon, I theenk you mean. 
Yes. That ees another long story. I meet 
heem in Vienna. He has a divorce before I 
know heem. My publicity man say, 'Vou 
mus' marry thees Carlos. Eet ees ver' goot 
for you.' 

"1 say, 'I do not want. I do not lofe 
heem.'" She paused, looking quite East 
Lynne-ish for the moment, at the memory 
of this trying situation. I thought that 
publicity man must have been a nuisance. 

"He say, 'Pish! You can divorce heem 
ver>- soon. But eet ees goot for you that 
you haf been marry to heem. Old family, 
ancient name.' That soun' better to me. 
1 say I will. 

"Then I theenk some more. You see, in 
Europe, men wit' titles are sometimes — 
w'at you say? — gold deegers. Carlos haf 
old name, yes. But no money. I mus' sup- 
port heem w'en we are marry. I know that. 
And over there eet happens sometimes like 
thees w'en you wish to divorce such a hus- 
band: He can say, 'Very well. I weel gif you 
divorce — for so much money.' I can haf to 
support heem maybe forever an' forever- 
all my life. 

DUKES AND OTHER MINNOWS 
" AFTER I theenk like thees, I say, 
x~\. 'Non! I change my min.' I write to 
heem. 'W^e are no more engage'." 

She made an emphatic gesture to illus- 
trate the finality of that. It occurred to 
me that these engagements to titles took a 
vast amount of theenking. But it hasn't put 
i any wrinkles in Lili's brow. 

There were several dukes and an earl or 

two on the list. These were minor affairs 

and hardly worth recounting. And there 

were numbers of goot frien's among Eu- 

; rope's crowned and titled sets. 

The Prince of Wales and his brother, 
George, were among the latter. "I met 
them in Paris," said Lili. And dismissed 
them with a laconic "They are nice boys. " 

The King and Queen of Spain had a niche 
to themselves. "They were so-o-o nize to 
me," she recalled. " They came to my prem- 
iere in Madrid and they entertained me. 
Sweet peoples!" 

And now that she is in Hollywood and 
still a bachelor, as she calls it, Lili wonders 
whether she will ever find it possible to love. 
Really love, you know! 

"I sink I am too wise," she mourns. "I 
have known too much — had too much eggs- 
perience. I sink eet ees not goot to know 
so much. Non? I am afear I am cee-nee-cal. 
Do you sink one can lofe w'en one has 
known so much?" 

W'ell — really; I wouldn't know about 
that. But I hardly think that Lili's case is 
hopeless. There was a very dreamy look in 
her eye when she mentioned a certain duke 
who visited California recently. But there! 
; I promised not to tell. 

t Anyhow, I fancy that Lili will not be a 
\ bachelor forever. 




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For Crying, But Not Out Loud 

(Continued from page 33) 



to be seventeen, has been discovered by 
some interviewer frisking with her five kid- 
dies, ages ranging from thirteen down. 

A GOOD BAWL AT THE BOWL 

HOLLYWOOD has a Bowl, an enormous 
outdoor amphitheater where concerts 
of classical music are given in the summer- 
time. Here a few of the stars go on the 
boy-friend's evening out, and wallow emo- 
tionally in the hectic strains of "Tristan und 
Isolde" or, maybe, some inspirational speech 
about the spiritual aspects of listening to 
music under the stars. But it is doubtful if 
more than a few of the screen's elite get as 
much emotional tug from Wagner as they 
do from "Ramona," which, after all, can 
be listened to from a sofa instead of a nasty 
old bench under the horrid old stars. 

Perhaps the finest parade-grounds for the departing sun, 
emotions are the divorce courts, and the twinkling of thoi 
churches in time of matrimony. Realizing 
as they do that their art must come first, 
the stars succeed in forgetting completely 
the fact that the average duration of a mar- 
riage in Hollywood is from twenty-four 
hours to three months; and, on the bi- (or 
tri-, as the case may be) ennial occasion of 
their giving themselves in lawful wedlock, 
they, together with all their friends, make 
it a practice to let their emotions run en- 
tirely away with them, for all the world as 
if the words "until death do us part" really 
had some significance. Often a star gives 
herself into the keeping of her husband al- 
most as tearfully and dramatically as, a few 
weeks or days later, she tells the judge what 
abominations that gentleman practised 
upon her in the privacy of their chamber. 

Let it not be supposed for a moment that 
the stars really like being divorced every 
six months or so. But to keep emotionally 
fit, as their art demands of them, there is 
no getting out of it. 

Several formerly 

a mo us actresses 
have started on the 
down grade purely 
through getting 
careless about their 
divorces, and let- 
ting their emo- 
tional selves get 
stagnant because 
they kept the same 
hubby hanging 
around the place 
too long. 
COURT WORK- 
OUTS 
THE divorce 
court is the 
supreme gymna- 
sium of the emo- 
tions. Here, dressed 
in black and with 
slight (yet becom- 
ing) circles under 
the eyes, the star 
is able to run the 
whole gamut of 
sentiment as she 
describes, pausing 
every so often to 
use her exquisite 
hand-made lace 
kerchief, how her 
husband of but a 
few days (or weeks) 
spent hours on the 
golf-course. She 
can pour her very 
soul into her reve- 
lations of how the 
brute refused to 
buy her a new er- 




Just picking Kathryn Crawford as his lead- 
ing woman entitles Glenn Tryon to play the 
title role of "The Kid's Clever" 



mine wrap for each opening, or forgot to let 
his bath-water out. After the decree is 
granted she can return to the studio in one 
hundred per cent emotional condition, happy 
in the knowledge that her sacrifice has made 
it possible to give her all to her dear public. 
As if in collusion with Art, dear old 
Mother Nature provides in the Hollywood 
region the most spectacular and the most 
to-be-emoted-at sunsets in the world. On 
returning from the studio at six or there- 
abouts, the stars head their cars westward 
toward Beverly Hills, and the almost Tur- 
neresque color-schemes connected with the 
bedtime of the sun are sufficient to bring 
sentiment gurgling to the surface. When 
this is followed by the lighting of the street 
lamps in the city below, the view presenting 
one side the crimsons and greens of the 
the other the star-like 
nds of lamps in the deep- 
ening twilight, the stars of the movies turn 
their thoughts to such sentimental matters 
as home and mother, and prepare them- 
selves for the renewal of eiifort in Art's 
cause on the morrow. 

ARTIFICIAL SOUL-SYRUPS 

AND never let it be thought that the stars 
- do not righteously emote in the manner 
expected when viewing the pictures made 
by their rivals, or confreres. Probably more 
time is spent by the average star looking at 
pictures than anything else. Great interest 
is taken in all the new pictures as they come 
out, as well as in the clothing of those pres- 
ent at the grand opening. Hollywood as a 
whole screamed with ecstatic melancholy at 
the unfortunate adventures of Janet Gaynor 
and Charles Farrell in "Seventh Heaven." 
Everywhere you went the week after the 
opening famous personages of the screen 
confided to vou how they had used up all 
their handker- 
chiefs as the story 
of C/;;co/ and Z);a;;e 
was unfolded. Al 
Jolsonin"TheJazz 
Singer" brought 
gulps; and in "The 
Singing Fool" he 
had the tears cours- 
ing from more dis- 
tinguished eyes 
than had ever been 
known. All these 
screen dramas are 
taken by the stars 
like soul-medicine, 
to keep them emo- 
tionally fit. The 
week "The Pa- 
triot" opened in 
Los Angeles was, 
so they say, the 
biggest in the en- 
tire history of the 
Beverly Hills 
Laundry. 

There is thus 
in Hollywood, for 
the proper lach- 
rymal exercise 
every apparatus, 
natural and arti- 
ficial. Sunsets and 
lawsuits and cin- 
emas all are pro- 
vided to keep 
dewy the emo- 
tions of those who 
live by stimulat- 
ing emotion in 
others. And the 
best customers for 
emotion are the 
makers of it. 



In and Out of P'ocus 

{Continued from page jg) 

resource of our deixirtment on the searcli 
for him." Reggie felt flattered at tlie in- 
terest he had aroused until the chief of 
police added gloomily, "I bought two 
hundred dollars' worth from him m>-self." 

A Jolt From the Blue 

""HiTAMA, it's going to thunder," 
XYI shivered l.ila l.ee's little boy Itxikiiig 
out at the beginning of California's rainy 
season. "But of course you're not afraid," 
Lila soothed him. "N-no, o'course not," 
agreed the youngster, 'I'll just say, 'Isn't 
it the foolishcst tnunder!' " 

She Sltoiild Live in Babylon 

"'TpHEY named a town in Long Island 
JL after that girl," said Eddie Cline, as 
he watched a peppy little extra making lo\-e 
on the set. "But her name is Tompkins," 
said Lorayne Duval seriously. "Yeah, and 
the town's name is Great Neck," said Cline. 

She'll Have to IT ash Her Step 

AFTER superhuman effort and weeks of 
• research an energetic chatterer for a 
film news weekly has unearthed the fact 
that the newest flapper star's contract has a 
clause requiring her to take a bath every 
day. 

Keep 'Ent Lou- 
"T^ON'T send us another picture like 
•*-^ Soandso," wrote an exhibitor to one 
of the big companies recently. "Nobody 
likes highbrow pictures except the critics, 
and they come in on passes." 

Special Extra 

THE talkies have raised another interest- 
ing question: what will the extras say 
on a big costume set? I remember being 
present while the Nativity scene of "Ben- 
Hur" was shot and hearing the little extra 
girl in ancient Hebraic costume on the edge 
of the crowd shout vigorously, "Goody, 
Goody! Christ is born." 

A One-Minute Egg 

ANEW screen sheik was being primed 
tor his interview by a hard-boiled 
newspaper reporter. " Now remember," the 
press agent urged, "he thinks you're too 
good-looking. You've got to act like a he- 
man, make him think you're tough." The 
hard-boiled reporter was brought to the 
star's dressing-room and greeted with a re- 
sounding slap on the shoulder that made 
him stagger. "What the helll " lisped the 
star. "Let's you and I go out and get drunk 
and raise some whoopee!" 

It's a Wise Car — 

AT the opening of a new film one of the 
*• impressive features is the voice of the 
announcer bawling at the close of the pic- 
ture, "No. 982: Mr. Jack Gilbert's car," 
"Miss Billie Dove's car," "No. 777: Mr. 
Clarence Brown's car." "H'm," said Billy 
Haines sceptically at "Noah's Ark "opening. 
"The cars are swell all right, but do you 
notice how the chauffeurs of some of them 
have to keep going around and around the 
block because the owner of the car doesn't 
recognize it? " 

Just a Shareholder 

AND Eddie Cline, the director, strolling 
• out in full evening glory, directed the 
carriage announcer to broadcast a call for 
"The car belonging to Eddie Cline and the 
Pcicific Finance Corporation." 

A Mortar Insult 

pASSING a cement grinder on the First 

■*• National lot the other day, Dorothy 

Mackaill stopped to listen to the noise. 

{Continued on page 109) 




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Throwing things over may become a habit with Nils Asther. In this instance, it's only 

his own leg over the arm of a chair. But next it may be Hollywood and all it can 

offer him — which is less, in his esteem, than the benefits to be derived from life in 

his native land 

Home, Swede Home 

{Continued from page 33) 



little house he had rented. "Money at 
home, in Europe — ah, that is one thing. 
Here, it is another. If you make the really 
big salary — five, six, eight thousand a 
week — all right. But a thousand or two, 
here, it is nothing. The life is so expensive, 
you can save nothing. A film actor lasts so 
short a time, he must save or one day he get 
the poorhouse. My expenses are so many. 
I must have three secretaries to answer my 
fan mail. The thousands of letters come 
each week, and all must be answered. I feel 
n do no less, when the PuUikunt write 
about my work, than to say 'Thank you'! 

LESS MONEY, MORE LIFE 

IN Europe, I can make half the money 
and live twice as well and save twice as 
much. In Berlin, where I was working for 
the UFA for so long, I really lived. Not 
ly was the money worth more, you 
understand, but life was worth more. I was 
tired of Berlin— all right! I would take the 
train, and next day I would be in Paris, in 
Budapest, in Vienna. The people knew me. 
I liked them. They were more my people. 
Here, everyone is so kind, everyone treat 
me so nice, but I do not like the openings, 
the parties; always the noise and the shout- 
ing about everything. I like to be with my 
friends, to talk a little and drink a little — 
;lax, you understand. In Hollywood I 
just have my little circle of friends from 
Europe: Jannings and Murnau and Lu- 
bitsch and Connie Veidt, and some other 
that we understand each other. 

Specially, you know," he went on, 



making a wry face and then laughing, 
"specially am I tired of everybody feeling 
so fine. Everywhere you go they say: 
'Hello, old chap, how are you?' and you are 
supposed to say: 'Fine, old fellow, just 
fine!' when perhaps you have no job to do 
and the rheumatism is on you. Everybody 
slap you on the back as if the world was so 
lovely and nothing ever went wrong with 
anything. But I will not tell them I am 
fine if I am not fine. I say: 'Thank you, I 
am sad today' or ' I have a bad cold and 1 
feel rotten.' And often they look at me as 
if it was some insult I make. But it is not 
necessary to ask me how I am. If I am not 
well I stay at home and go to bed. If I am 
forced to get up when I feel bad to work in 
my picture, I don't want to talk about it. 
It is my business. 

"But why should I say such things about 
them? I suppose it is of their kindness 
that they ask me how I am." 

Yet what Nils told me explained much of 
Hollywood's wary attitude toward him. 
He has been construed as upstage by most 
of the reg'lar fellers of the studios. Never, 
since his entry into the California movie 
colony, has he been taken to the bosoms 
of the inhabitants. On arrival, he im- 
mediately came under suspicion by showing 
that, although still a young man, he was not 
only a man of learning but refused to be 
ashamed of the fact. One can well imagine 
how quickly he was voted impossible in 
Hollywood's hearty circles when he refused 
to admit on every occasion that he was just 
fine. 



THE KUROl'EAN GILBERT 

IT must have been a change difficult to 
make when Nils left Kurope for Holly- 
wood. In Kiirojic he was one of the front- 
line stars; he was the idol of the females, 
especially in ("lermany, to an extent quite 
comparable with Jack C'.ilbert in America. 
In Hollywood he was put into leading 
parts — ^>'es; but in pictures where the 
juveniles were only secondary, such as 
"Topsy and Eva" and "Sorrell and Son." He 
found that his name was not known to the 
majority of the studio people, when pre- 
viously, in Ciermany, it had been a house- 
hold word. His remarkable acting ability 
soon put him near the top in Hollywood, 
and he played in more pictures after his 
arri\-al here than, perhaps, any of the 
American leading men. All the time, how- 
ever, he remained a suspicious character as 
far as Hearty Holl^•^vood was concerned. 
He was too learned, too intelligent and too 
frank to become the idol of the studio per- 
sonnel. And they laughed when he spoke 
to the waiter in French. 

"As to the .American girls," went on Nils, 
"there is something about them that the 
women do not ha\'e in Europe. Their open- 
ness and frankness about everything charm 
me. In Europe the women seem — sort of 
stiff and fonnal, in comparison. I have been 
very fond of all the women in my pictures 
here. Joan Crawford — what an extraor- 
dinary womans!" The plural slipped out 
unintentionally. "I like her very much. 
WTien I was acting with her, all the time her 
Douglas Fairbanks, Junior, stand watching. 
He, too, is charming. NIarion Davies is 
simple and kind. She invite me once to her 
ranch near San Francisco and I spend 
wonderful hours there talking with the great 
genius of Hollywood, Charlie Chaplin. 
Jetta Goudal and I — we get on just fine, as 
you say. Vivian Duncan and I — we were 
engaged. We were just great, great friends, 
you understand. One day, we are sitting 
in her apartment having lunch, when a re- 
porter walks in and says: 'Have you seen 
the paper this morning? I see. you are en- 
gaged and will you give a story?' I say to 
Vivian: 'The paper say we are engaged? 
All right — we are engaged!' So it happen 
that way. If you are seen twice with a 
womans in Holl>'\vood, you are engaged. If 
they say so, ver\- well — I accept it. 

SIDESTEPPING THE PARTY 
"npODAV I just receive a long telegram 

1 from Marion Davies inviting me to a 
big party, at the Cocoanut Grove. I like 
her, you know; she is very kind. But a big 
party tonight— no. I have a headache. 
Everybody will ask me how I am — and I 
should say: ' I am rotten.' No, it is better 
I do not go to the party." 

It was a few days later that Nils spoke to 
me on the telephone. 

"How are vou?" I said chattilv, quite 
forgetting myself. 

He appeared to ruminate a moment, as 
on the general futility of impressing an\- 
thing on anyone in Hollywood. Then: 
"Almost good," he answered. "Today, it 
is true, I am almost good." 



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is hard not to be self-conscious together. I 
haven't seen Biff since his last football game 
down here and I probably won't see him 
until his next one. In the meantime this 
story has broken and I'm sure I'll be awful- 
ly self-conscious when I do see him again." 

THOSE AMUSING RUMORS 

MARY observed herself in the mirror 
with the childish Brian pout. 
"The first time I was rumored engaged — 
and they have all been rumors"- — Mary in- 
sisted, as the wardrobe woman took in two 
more inches on the already skin-tight gown, 
"was to George O'Brien and we have never 
met. I had never even laid eyes on him, so 
you can imagine how I felt one morning 
when I woke up to read of our engagement. 
At first I thought someone must be playing 
a joke on me. Or on Mr. O'Brien. And then 
it dawned on me how it had probably hap- 
pened. I had been up in San Francisco 
on location and I met George's father, who 
is the chief of police there and a perfectly 
wonderful man. We became awfully good 
friends and he said I was just the sort of 
girl he would like George to know. I suppose 
a newspaper reporter must have heard him 
say it and thought he would scoop the ro- 
mance before we ever met. We have never 
run across each other to this day. 

"The Richard Dix engagement was al- 
most as far-fetched as that one," she went 
on, "except that I had worked with Richard 
and we went around together a little in 
New York." 

Mary was awfully new and inexperienced 
in the movies when she first met Dix and 
probably her hero-worship of the popular 
matinee idol was mistaken for something 
more serious. 

ACTORS ARE TABOO 
"T THINK every girl goes through times 
A when she thinks herself very much in 
love. I have thought myself in love a couple 
of times." She shook her newly slicked 
head. "But it was just hero-worship or 
infatuation, I guess, because I don't think 
you forget a real love." I got the idea that 
Mary might have forgotten a few of hers. 



"I don't think I would really want to 
fall in love with an actor," she mused. "I 
mean if I had any choice in the matter. I 
think I would be a little jealous of the other 
girls he had to work with and things like 
that." 

"If he were as nice an actor as Buddy 
Rogers?" I inquired. Even the now skin- 
tight-black-gown could not keep Mary from 
looking a little fussed. 

"I like to work with Buddy more than 
anyone else," she admitted. "He's such a 
nice boy and so enthusiastic and sweet 
about everything. We became rumored en- 
gaged in a rather funny way. We were 
making publicity stills for our last picture 
and the director suggested that I slip on 
Buddy's fraternity ring for one of them. 
We took several more pictures that day and 
I forgot to return the ring when we were 
finished. I wore it until the next day be- 
cause I was afraid if I took it off I would 
forget about it. Before I got a chance to 
return it to Buddy I met a man on one of 
the newspapers, and he recognized the ring 
immediately and kidded me about it. I 
explained the whole thing to him, but he 
insisted on announcing our engagement any- 
way. It was just an accident," Mary added, 
"but Buddy is an awfully sweet boy." 

Mary sighed a very imperceptible sort 
of little sigh. 

"Since then I have been announced as 
engaged to Matty Kemp, too. Matty and 
I had lunch together one day and that is 
how that started. I don't think we had 
ever gone out together before that. And the 
funniest engagement of all was when a girl 
named Mary O'Brien married Benny Rubin, 
the jazz leader in the Grauman prologues, 
and my home-town papers carried the news 
that Mary Brian had married Mr. Rubin." 
Mary laughed. "So you see they are all 
fakes. It really isn't any strange power 
over men at all." 

Maybe so. But her recent romantic ru- 
mors have lent Mary a new dash and charm 
with just enough sophistication that you 
may see the dawn of a new close-up for the 
Brian child. A close-up of long slinky 
earrings against a baby face. 




Home is where the art is — and so Corinne Griffith has had built for her on her studio lot 
a livable bungalow, comprising even a garden wall and a watch-dog 



In and Out of F'ocus 

(Continued from page 105) 

"My, my." She shook her liead. "How 
badly Jack Warner's voice comes over." 

She Had Lived jyith It 

AT Famous it is said that when the con- 
• tract of a pla>cr comes due for renewal, 
the player is called into the front office, kept 
waiting to lower his morale, and told with 
much coldness that his pictures haven't 
done what was expected of them, and that 
the studios don't particularly care about 
taking up the option. However, if the star 
will accept the same salary, it may possibly 
be arranged — and so on. 

Evelyn Hrent was the latest to be sub- 
jected to the ordeal. She listened to the 
executives' remarks in silence. She smiled a 
long, slow smile. "You forget that Hcrnie 
Fineman is an executive," she remarked 
softly, "and that I was married to Bernie 
for a good many years. It may work with 
some, but not with me." 

She Shuns Shes 

DOROTHY PARKER, magazine writer, 
has come to 1 hillywood to do dialogue. 
She took a good look about lier the first da\- 
in the studio. " What would you like put on 
your office door?" the studio executives 
asked her. "For Men Only," replied Doro- 
thy promptly. 

Lupe's Lofe-Life 

THE Paramount lunch room has been 
enlivened lately by the presence of Lupe 
Velez. She lunches with Gary Cooper, and 
her voice may be heard at intervals above 
the clatter of dishes and the sounds of eating 
triumphantly proclaiming, "He lofes me. 
Garj- lofes me." 

The Silent Mama 

1ILYAN T ASHMAN 
■^ at times but at othc 
terested in a conversatio 
says she can sit longer t 
man being. "The o 



s, when she is in- 
, for instance, she 
an any living hu- 
y at a party," she 
said, " I was talking to some fascinating 
people, and forgot all about time till Eddie 
came up to ask me if I was painted on my 
chair." 

Directing the Director 

EDDIE CLINE, the director, was passing 
through Santa Monica at the rate of 
si.vty miles an hour when he heard a motor- 
cycle cop's siren. His brain worked swiftly. 
Santa Monica — who had he heard came 
from Santa Monica? "Officer," said he im- 
pressively, "I am Eddie Cline, motion pic- 
ture director. And at the present moment 
I am directing Fay Webb, the daughter of 
your chief of police." 

"Brother," said the cop virtuously, "that 
don't mean a thing to me. Not a thing!" 
He leaned toward his victim as if to hand 
him the summons, "Rlow!" he whispered. 
Eddie blew. 

A Death Wasted 

THE press agent was discussing Jaime 
Del Rio's death. "It's terrible — ter- 
rible," he said with genuine emotion in his 
voice. "Dolores ought to have flown to 
New York by airplane and taken a five-day 
boat from there as soon as she heard he was 
sick. Think what a story that would have 

Deaf to His Career 

" TT'S tough luck" said the deaf-and-dumb 
■*■ sheik in sign language. " No sooner do 
I get a break in pictures than they start 
making 'em talkies." 

(Continued on page 112) 



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Shopping with Lilyan Tashman 

{Continued from page yS) 



could go home and set a table just as attrac- 
tive with my plated silver, linen from good 
old America and china picked up over the 
bargain counter. It was merely the formula 
which interested me, although, I did get a. 
kick out of touching the kind of things 
which money can so easily bring to you. 

The tablecloth, a delicate pink silk 
damask — colored cloths are the vogue now, 
Lilyan tells me — utilized the innovation 
of a double monogram as shown in an 
(accompanying picture.) The napkins, to 
match, carried a single monogram in one 
corner. The solid pink was relieved by a 
two-inch border of plain white damask. 

" I don't use flowers — for several reasons. 
In the first place, they're expensive. In 
the second, they interfere with your 
guests' seeing one another. Besides, the 
odors of good food are tantalizing enough; 
and then, to be perfectly frank, I like to be 
a bit different. So I use, usually, Chelsea 
china horses like these and candelabra on 
either end of the table. This pair is Giron- 
delles with crystal apples and grapes. The 
candles are regular church tapers and I 
buy them at the Little Cathedral store 
next to the Catholic Cathedral on Main 
Street, Los Angeles. 

NO TRICK PLACE CARDS 

I DON'T use regular place cards. I take 
just a plain calling card, write the name 
of my guest on the reverse side and place 
it in the little Talique glass-idol holders. I 
picked them up in Paris. 

"My butter plates are silver to comple- 
ment the tiny silver ash trays. The butter 
knife is placed on the plate. My glasses 
chance to be cut crystal ; the service plates, 
green Italian glass; the entree plates, 
English Lowestoft; the bouillon cups, tall, 
two-handled Capi De Monte; the dessert 
plates of Wedgwood; the finger bowls 
large, early- American red glass; demi-tasse 
or large coffee cups — I give my guests their 
choice — of Capi De Monte or English Spode. 
I serve my pepper from a shaker, but the 
salt — see, don't you think the modern 



version of the old salt-trays are a bit more 
stately? 

" Instead of placing a flower leaf in the 
finger bowl, I use little glass fish which 
float about to tease your fingers." 

Miss Tashman's dinner service aptly illus- 
trates the fact that the day of large dinner 
sets with all pieces of one kind of china was 
for our grandmothers. Today you can mix 
colors, china, glasses and silver — whether 
they come from Italy, Germany or Belgium 
or just our own street, and still set a proper 
and attractive table. 

"But no matter what the dishes, it's the 
food that really counts," she continued. 
"As long as your table is pretty, it really 
doesn't matter so much what the food is 
served on as long as it is hot, nourishing, 
well balanced and tasty. Tonight I am 
serving cheese souffle, followed immediately 
by the dinner course of chicken fricassee 
and rice dumplings. No potatoes, for there 
is already enough starch in the rice. 
Steamed cauliflower — if I were not having 
cheese souffle as an introduction I would 
serve it au gratin — small finger rolls made 
at home; a salad course of what I call the 
Tashman salad because I concocted the 
recipe; p&te de fois gras with French loaf 
toasted; and for dessert, French pancakes. 
Large or small coffee as the guests choose, 
with Camembert cheese. Of course, celery, 
olives and salted almonds. 

NOW FOR THE MARKETING 

COME on. Let's go and get the chickens 
and the vegetables." 
We went first to Young's Market. It was 
not the first time that I had shopped with 
a star but it was my introduction to pur- 
chasing food with a celebrity. _ Although 
Young's is one of our most fashionable Los 
Angeles markets, there were, perhaps, 
twenty-five women making their daily food- 
selections. They hovered around, delayed 
as long as possible over their own choices, to 
watch Miss Tashman. She adored it. "I 
never cease to get a kick out of going to a 
public place and having people recognize 




While to duplicate exactly the articles which Miss Tashman uses in this instance to 
deck her table would run into a staggering sum, the effect can be paralleled by any- 
one with an art shop and a few dollars accessible 



i 



me. liM like a cliilil. a.ul lin .ilraid I take 
just as lone as I can to enjoy this public- 
interest to tne fullest. Eddie and I (Edmund 
Lowe, as you know, is Miss Tashman's 
husband) get a lot of fun out of doing our 
Christmas shopping together and I think 
half of it comes from watching the people 
watch us while we are making our pur- 
chases." 

By this time we were looking at chickens. 
There had been only two other people 
interested in fowls until we started looking 
the birds over. In two moments there were 
ten women who had decided to have chicken 
that night for dinner. 

"Not over twenty-four hours dead, ami 
hand-plucked: around five pounds each: 
either Rhode Island Reds or Phnuniths" 
were what she doin.uided. I wondered a> 
we left the counter how iiianN- extra hand- 
plucked. newly killed. Rhode Island Reds 
or PIvmouths were consumed that nia;ht at 
I.os Angeles dinners. 

BOOMING THE CAULIFLOWER 

THE cauliflowers she chose were firm and 
medium-sized. We had a new group of 
women behind us at the vegetable stand 
and both walked away highly amused — 
cauliflower seemed to be the popular choice 
for \'egetables, as chicken was for meat, in 
this city. 

From ^'oung■s we went to the Women's 
Exchange for our candies. The clerk here 
took occasion to tell me that most of the 
Hollywood stars patronize this charitable 
institution for their sweets and their favors. 
From there to the American Legion store, 
where we picked out some more candies and 
the nuts for dinner — another way of helping 
other people in the purchase of her neces- 
sities. At the floral shop she selected huge 
chrysanthemums. She explained: "Al- 
though I don't use flowers on the table, I 
always choose my own bouquets to scatter 
through the living-room. They give it a 
homey, intimate touch for our after-dinner 
conversation." 

Back home, where I went into a huddle 
with the cook. I was going to entertain a 
few evenings later and since m>- china and 
linen were to be chosen to iriiitate Miss 
Tashman's at the Thursday Los Angeles 
bargains, I didn't see why I shouldn't serve 
exactly the same meat prepared by my own 
hands, just as her French cook would 
instruct me. Here are the recipes which she 
gave me; and since my dinner is now over 
I can guarantee that they are well worth 
any woman's time to cook them: 

RECIPES 
Cheese Souffle 
l4 pound of butter 
4 tablespoons of flour 
(seasoned with salt 
and pepper) 
I egg 

I cup of grated cheese 
Make a thick cream sauce of the flour, 
butter and just enough milk added to make 
it thick. Let it stand for a few minutes, 
then add yolk of the egg, grated cheese and 
stiffly beaten white of the egg. Bake in a 
moderate oven about twenty-five minutes. 

Tash.m.\n S.\l.\d 

Lettuce leaves Hard boiled eggs 

Tomatoes Chives 

Wilt the lettuce leaves and cut in pieces, 
cut the tomatoes, eggs and chives into good- 
sized pieces, mix them all up together and 
cover with French dressing. The amount 
should be judged by the number of guests 
to serve. Use equal parts of all vegetables. 

French P.vncakes 

I cup flour ],4, cup milk 

I egg I teaspoon sugar 

I pinch of salt 

Stir all together until smooth. Fry one 

large spoonful at a time in a small frying 



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In and Out of Focus 

{Continued from page log) 
Calumny 

WHICH reminds us of Marian Nixon's 
remark when someone said at a party 
that Mrs. Coolidge was interested in raising 
two million dollars for the dumb asylum in 
Northampton because she once taught 
there. "Maybe," said Marian innocently, 
"that was where she met Mr. Coolidge." 
Lift and Learn 

A MOVIE extra, no longer young, stood 
on the sidewalk waiting for a lift to 
Culver City. Beautiful cars passed her; im- 
ported sports models, limousines; and she 
made no signal to them. At last a shabby 
car of three-year-old make came along and 
she put up her hand. The car stopped and 
picked her up and went on. Pitiful barom- 
eter of fading attractions. She had learned 
by cruel experience that she was no longer 
able to beg a ride from Rolls-Royces and 
Hispano-Suizas. 

The Gay Undeceiver 

IT was Marion Davies' surprise party. 
Camilla Horn, dressed in her very best, 
entered the Biltmore and discovered Marion 
and two gentlemen in the lobby. Glowing, 
Camilla hurried up to Marion, "I haf come 
to your party," she beamed. " It wass so 
goot of you to invite me." "Party?" said 
Marion,' puzzled, "What party?" Heed- 
less of the black looks of Marion's escorts, 
Camilla hurried on until she felt her foot 
stepped on and heard a masculine growl in 
her ear "Shut up, can't you! It's a sur- 
prise." However Marion is a good actress 
and registered charming amazement and 
delight when she was led into the glittering 
ballroom a little later. 

A Big Compliment 

WHEN Virginia Bradford was first in- 
troduced to Jack Gilbert, he looked 
into her eyes for several moments in silence, 
then murmured "Colossal!" Virginia is 
still trying to figure it out. 
Cocky 

SHALL I give you a singe, sir?" the 
Fox studio barber asked Eddie Lowe 
the other day. "Singe, eh?" said Eddie 
disgustedly. "Say, what do you think I'm 
growing — pin feathers?" 




Reflected glory, indeed. But Dorothy 

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.tints ol ipluR inuhuh 
-1 I \ 1- Inrng abducted while the hero toie 
ill lu th^ lodd below ill a racing tai 

Wl m ule a hundred scenes in the <ur, ' 
(.luKs It lib us in competition with the 
Kuimu wind outbide, "but not freak-stud. 
11k\ u-(.tl planes in the picture the wa> 
tlK\ do m real life today to go places Oh, 
nn penis were absolutely the latest thing in 
I>enls no rattlesnakes or cactus clumps 
or guns that would go off when someone 
opened a door Our crooks communicated b\ 
radio md c^ot news of each other's mo\c 
nieiits 1)\ iclf\'isi()n. Instead of fastening 
Hugh and nic — Hugh Allen was my rescuer 
in the picture — by our necks to a tree 
brancli with wet rawhide that would shrink 
in the sun and hang us, they shut us into the 
most scientific kind of a lethal cell. Of 
course — " Her voice was drowned by the 
rising wail of the motors, "Bobbed hair. 
Can 't drag the heroine around like they 
used to, by her braids." 

Below^ us a new oil well on the desert 
spouts millions with the inconsequential 
trickle of a child 's squirt-gun. The traces of 
man 's occupancy of the earth look from this 
height like scrawls and blots upon uncon- 
quered mountains and plain. The great 
ship of the air rides the invisible roads with 
a smoothness that makes the speed of a 
hundred miles an hour seem incredible. 

The new Queen of the Serials leans to- 
ward me. "Chapter plays may not . . . 
great art. But awful lot of fun." 

I nod in complete understanding. Once 
I wrote poetry. Once I thought I was des- 
tined to become a great novelist, now — I 
write interviews with pretty movie heroines 
and handsome movie sheiks. 

I look out of the window of the air-liner. 
A city lies below us, a toy on the immense 
flat surface of the world. You have to go up 
in an aeroplane to see things in their true 
proportion. 

Movie interviews may not be great art. 
But they are an awful lot of fun. 





Doing things on a small scale is not 
usual with Chester Conklin. But this 
time he's turned to it in the interests of 
accuracy, in laying the c 
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I^UDIE? 

Amazing, startling FACTS that Science has actually 
discovered and PROVEN about AFTER-DEATH and 
LOVED ONES gone BEYOND sent for 10c in stanips. 

Pioneer Press, Dept. 136. Hoiiywood, CaBi^. 



Letters to the Editor 



(Continued from page 6) 



achieve, please let us have more from the 
lives of our accomplished favorites. 

Airs. J. F. Hartnett. 



Want to See Them Again? 

WASHINGTON, D. C— How wonder- 
ful it would be to have a series of revivals of 
some of the famous pictures of yesterday! 
Think of having Mary Pickford Week in 
your city, town or hamlet, with the glorious 
pleasui-e of laughing or crying with her in 
the early "Eagle's Mate," "Cinderella" or 
"Hulda from Holland," the later "M'liss" 
and "Rebecca of Sunnybrook Farm," and 
the almost immortal "Daddy Long-Legs," 
"Little Lord Fauntleroy" and "Pollyanna." 

For those who have never had the unfor- 
gettable joy of seeing Mary in her earlier 
pictures, this would be a rare treat. And 
how fascinating to see unfolded before the 
eyes of all the almost forgotten "School 
Teacher and the Waif," "Lena and the 
Geese," "The New York Hat" and various 
other short-reelers of the memorable old 
Biograph days, when Mary worked side by 
side with Griffith and numerous others 
making filin history. 

The movies have improved rapidly and 
advanced far since then, yet we who have 
watched them as well as Mary can never 
forget either, especially the pictures she 
made, nor can time erase them from the 
crowded, dim yet vivid, halls of memory, 
for her beauty of face and heart shines 
through them as a beacon light glowing 
across a dark sea, shedding warmth and joy 
and happiness wherever they may be 
shown. John Landers Poole. 



An Eye Witness 

MILWAUKEE, WIS.— I greatly enjoy 
reading your page of letters from the fans, as 
I'm an ardent movie fan myself. I trust the 
following letter will be more than scrap 
paper in your eyes. Also may you continue 
to prosper as I know you must with a 
magazine such as "Motion Picture." 

While at Lake Louise, Alberta, Canada, 
this summer it was my good fortune to see 
the filming of some of the scenes for " King 
of the Mountain" starring John Barry- 
more. I was surprised at the amount of 
work it takes to make a picture. Every 
scene was re-acted over and over. I had no 
idea that each scene had to have so much 
study and repetition. Mr. Lubitsch works 
harder than the average business man and 
yet people say actors and directors have a 
"soft" time of it. 

Mr. Barrymore was more agile at moun- 
tain-climbing than were the Swiss guides. 
Bert Hadley told me that Mr. Barrymore 
acted the water scenes in "The Sea Beast" 
when a regular water-man hired for the 
work refused to enter the cold water. Only 
sincerity and the desire to make the picture 
a success could enable Mr. Barrymore to 
act such difficult scenes when there was a 
double on location for his safety. He is 
truly a great actor and a great man, and 
iDelieve me he earns every dollar he is paid. 
Jimmy Murphy. 



to think. Do we treat our home folks as we 

Mr. Jolson was always a singer whom I 
liked but now — he is a man I would be 
proud to know. 

How wonderful he is with children. 
Surely a man who could treat Sonny Boy 
as Al Jolson did — even if it was acting — is 
a fine man. 

All wives should see it who are planning 
on leaving their husbands. I am sure it 
would make them think again. 

Any picture one can say that of must in- 
deed be a good picture! 

That little Davy Lee has captivated me 
almost as much as Mr. Jolson has. 

I say long may Al Jolson be a success. 
Alice SMe. 



Have Them Rose-Colored! 

SANFORD, FLA.— When I read some of 
these letters telling the directors to inake 
pictures more true to life, it makes me want 
to scream. Why in the world does anybody 
want to see life represented on the screen 
as it is? How can they stand to see anything 
so monotonous? We all see these common- 
place things everj'day of our lives and when 
we go to the theater we want something 
unreal and beautiful to give us courage and 
hope to face the trials of this drab world of 
ours. 

In other words, we like to see the type of 
picture that Douglas Fairbanks plays in. 
They give us a young and peppy feeling. 
More plays like "Peter Pan" and "Thief of 
Bagdad" are what we need. 

When we leave the theater after such 
glimpses into a fairyland of wonder, we are 
far more happy than if we had seen a play 
with Mary wiping dishes and Jack coming 
to spend the evening or mother darning 
socks. So please, Mr. Directors, give us not 



life a 



sbut a 



On Al Again I 

PROVIDENCE, R. I.— Some well earned 
praise for Al Jolson please! If there is any 
star who deserves praise, surely it is he. I 
have just come home from seeing his latest 
picture "The Singing Fool." Never have I 
seen so earnest a picture. It makes one stop 



The Talkies Bring Broadway 

CLE ELUM, WASH.— I have been 
greatly interested in the denunciations 
against talking pictures and I would like to 
call attention to one phase that does not 
seem to have been stressed very much — the 
fact that they are the best means of bring- 
ing famous stage stars like Al Jolson and 
Fanny Brice, etc., to us. 

I lived most of my life in Portland, 
Oregon, a fairly large city, but it is very sel- 
dom that a very great artist appears in per- 
son there. And when one does come, the 
tickets are so high that the great majority of 
the people must either stay away or see the 
performance from seats so distant from the 
stage that one can neither see nor hear 
perfectly. 

These stars can sometimes be heard over 
the radio or on the phonograph but, of 
course, these means are also imperfect. 

Now, through "talkies" I can both see 
and hear very plainly these people of whom 
I have so often read and whom I had vainly 
hoped to see. And one can do this as often 
as one pleases as the prices are not prohibi- 
tive — that's the best part. I saw "The 
Jazz Singer" three tiines and have often 
gone to other shows twice merely to hear 
again a favorite short sketch. J. M. 



The Voice Breaks the Reality 

TULSA, OKLA.— The paramount ques- 
tion in the motion picture world of today 

{Coniinited on page 122) 



The Love-Life Story of 
Virginia Bradford 

{Coutinued from page loo) 

And that's all there was to it until New 
Year's Eve. I went up to his dressing-room 
to wish him a happy New Year. I asked for 
his picture. "What shall I put on it?" he 
queried. "Oh, just put 'Love and kisses to 
Virginia'," I answered nonchalantly. 

"No," he answered. 

"Well, if you won't put what I want, I 
can't help you!" 

He wrote, "To Virginia, with very best 
wishes for your success." 

rhen— well, it was my fault, but I was 
iktermined to break down the reserve of 
this man. It infuriated me. All women 
know that experience — the experience of 
being infuriated by indifference. I put my 
hands on his shoulders and he took me into 
his arms and kissed me. I let him. I wanted 
to be kissed by Ronald Colman. 

And that was the end of that matter. 
Perhaps, four years before 1 should ha\e 
fallen in lo\-e with him. But I knew it was 
no use — and besides, that night I met Cedric 
Belfrage, the English fan writer. 

I had been interviewed by Cedric, but 
that New Year's Eve I really met him. 
We started to talk. He was English," like 
Ronald. He had something of the same 
reserve, the same hard-steel exterior. Yet 
he was different — he was more of a pal, more 
friendly. You could talk to him about any- 
thing. He accepted me not only as a woman 
but as an intelligent human being. I told 
him all about my life; he told me all about 
his. There was a peculiar bond of friendship 
between us. Yet he seemed to be a man I 
could never entirely possess. One who would 
carry you to a thirty-story building and 
then drop you. I like that. I think that a 
woman who never entirely possesses a man 
has a bigger chance of holding his interest. 

We went together foi months with the 
usual inevitable interruptions. One time 
we quarreled and stopped seeing one an- 
other. Paul Kohner had just quarreled 
with Mary Philbin, so Paul and I went 
around together. Two disappointed people 
seeking consolation from one another. Many 
women have married for just such a reason. 
Oh, of course, Paul and I didn't talk about 
Mary and Cedric at first. We played the 
game as a man and a woman play it. But 
we couldn't help, when we got better ac- 
quainted, giving away our heart-secrets. 

Then one night I met Charlie Chaplin 
at a party. Now, I don't expect people 
to believe what I am ah)out to say about 
him. But why shouldn't they? I've been 
perfectly frank about my love-life, I can see 
no real reason for an^-thing but frankness. 
Naturally, like all girls in Hollywood, I was 
thrilled at knowing Charlie. He is as neces- 
sary to imaginary Hollywood experiences as 
John Gilb)ert or Ronald Colman. We sat in 
Henry's and talked and played games until 
midnight or after. 

But for all his cleverness and personality 
I could not fall in love with Charlie. I could 
not forget Cedric. I saw him again. And he 
said, " Hadn't we better end this, Virginia?" 
And he took me to his home and played 
"The Unfinished Symphony" for me! I 
knew Cedric was the one person in this 
world I really wanted to marry. 

I dashed home and slipped my toothbrush 
and nightie under my coat and we drove to 
Tia Juana. We had no idea that it cost 
■twenty-six dollars to get married in Mexico 
so we had hot dogs for our wedding supper. 

But we didn't care. Somehow, I felt all 
the unrest, the searching, the falling in love 
and being awakened to disillusionment were 
finished. I had passed through all the stages 
— girlhood, adolescence, sophistication — ■ 
e\'en though I am only twenty-three. 



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You marry — and furniture, draperies, silverware, china, 
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The Answer Man 

{Continued from page 8q) 

ton in "Hot News," starring Bebe Daniels, 
this was formerly called "The Big Scoop." 
Marion Davies and Charles King are play- 
ing in "The Five O'Clock Girl." Lawrence 
Gray and Bebe Daniels had the leads in 
;'The Palm Beach Girl." Her latest picture 
is "What a Night," Paramount Studios, 
5451 Marathon St., Hollywood, Cal. 

.TED. — Nancy Carroll was born in New 
York City, Nov. 9, 1906. She is five feet 
four, weighs 118 pounds, has red hair and 
blue eyes. Real name Nancy LahifT. Her 
latest picture is "White Fury." Write her 
at the Paramount Studios, 5451 Marathon 
St., Hollywood, Cal., where she receives her 
fan mail. Kathryn Crawford is not related 
to Joan. Molly O'Day is not doing any film 
work these days because she's overweight 
and is trying to reduce. You may write 
her at the First National Studios. Burbank, 
Cal. 

BRIGETTA.— Tom Mix was born Jan. 
6, 1879. He has two daughters, Ruth who 
is about nineteen and Thomasina, seven. 
Write Tom at the FBO Studios, 780 Gower 
St., Hollywood, Cal. Irene Rich also has 
two daughters, Frances and Jane. If you 
can get amusement out of your own follies, 
you should be able to work up a smile al- 
most any time. Douglas Fairbanks, Jr., 
played the part of Chris Miller in "Tl,c 
Barker." 

MONOCLE.— Yes, you can bawthah me 
and awsk a few ripping questions. Haven't 
had the pleasure of meeting Barry Norton, 
but hope to some day. Barry was born in 
Buenos Aires, twenty-four years ago. Has 
black hair and brown eyes. Your letter will 
reach him at the Fox Studios, 1401 No. 
Western Ave., Los Angeles, Cal. Drop in 



SUNNY BOY.— Write Wally Wales at 
the Universal Studios, Universal City, Cal. 
Tom Tyler, FBO Studios, 780 Gower St., 
Hollywood, Cal. Reed Howe's Educa- 
tional Film Co., 7250 Santa Monica Blvd., 
Hollywood, Cal. David Lee, who was Son- 
ny Boy in "The Singing Fool," is very much 
alive, where did you get that report? His 
latest pictures are "Frozen River" and "She 
Knew Men." Write him at the Warner 
Brothers Studios, 5842 Sunset Blvd., Holly- 
wood, Cal. Send me twenty-five cents each 
for photos of Al Jolson and Davy. 

A BUFFALONIAN.— Nancy Carroll was 
born in New York City, Nov. 9, 1906. She 
is five feet four, weighs 118 pounds, has red 
hair and blue eyes. Real name Nancy 
LahifT. Married and your letter will reach 
her at the Paramount Studios, 5451 Mara- 
thon St., Hollywood, Cal. Richard Arlen at 
Charlottesville, Va. He is about thirty years 
old, five feet ten and a half, weighs 156 
pounds, has dark brown hair and blue eyes. 
Real name Richard Van Mattemore, was 
educated at St. Thomas Prep. School, St. 
Paul, Minn., University of Pennsylvania. 
Married to Jobyna Ralston. 

BROWN EYES.— May McAvoy is five 
feet in height. That is Nils Asther's real 
name. His latest picture is "Wild Orchids," 
Metro - Goldwyn - Mayer Studios, Culver 
City, Cal. Norman Kerry was born June 
16, 1897. Dorothy Revier played oppo- 
site Jack Holt in "Submarine." If we 
didn't have to work, what a lot of bother it 
would be to think up something to do with 
our time. Clara Bow's next picture will be 
"The Wild Party," Paramount Studio^, 
5451 Marathon St., Hollywood, Cal. 



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THE 

ENCYCLOPEDIA 
OF MOVIE-LAND 




them. Every man. woman i 

should have a eopv of this fir^i \ i j 1 1 i , .\ j 1 1 ... ipv- 
rightcd book coverinK this Mil)....- a'.-A ih'- |.rir,. )ia3 
been placed within tlio reach of .\I,I,. 

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Delivered postpaid ANYWHERE ON EARTH 
Inclose a dclJar bill, f-K.-th.-r with vour name and 
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THE STARS' COMPANY 

p. O. BOX «5 HOLL-i^OOD, CALI FORNIA 



.\.\N SUH.MK.— Ciiarlcs Hop-r.^ is I 



pn-l 



M; 



C.al. li. 

to Isoh.-I .Slirfrl. kiKiwii in plrlinrs ;i 

Lee. Writ.' iii.ii at Ihr I nl\.ix;,l > 
Univorsal CIIn. C.al. M.nx I'.riati Is 
Marv was horn VrU. \:. l'>0)i. 
Davi(>s' next picture will In- " I'll 
0-C.l,Mk Clirl." 

JO.— Sue Carol is five feet five, weighs i.'o 
pouiuis. \o\\ refer to Thelma Todd who 
pl.i\0(i in " riic Xdosc." Address your letter 
to her at the Imisi National Studios, Bur- 
bank, Cal. Kcn>c,a Sills, son of Milton Sills, 
was born May lo, 1927. Arthur Lake and 
Barry Norton are both single. 

D. V.D. — Don't sifjn off on my account. 
I'm always <rlad to hear from you. Jatnes 
Ford is plaNiiii: lit "Children of the Ritz," 
First \ali.uial Sdulios, Burbank, Cal. I 
woiikl sii;.:i:r->l >.ni wTite William Boyd 
again. Ills next production 'will be "Leather- 
necks," Pathe Studios, Culver City, Cal. 
James Murray had the male lead in "The 
Play Goes On." Janet Gaynor had a birth- 
day on Oct. 6th. Playing in "Christina," 
Fox Studios. 1401 No. Western Ave., Los 
Angeles, Cal. 

FRANCES.— Here are a few new Clubs 
that have been organized. Lina Basquette 
Fan Club, Frances Maxian, 3658 Douglas 
Blvd., Chicago, 111. Anita Page Club, Key 
Witmer, 39 So. Summit St., Harrisburg, 
Penna. Billie Dove Fan Club, Ona Wilson, 
1746 17th St., Aiilwaukee, Wis. Charles 
'Buddy' Rogers, Dorothy L. Berry, 142 1 
No. Jefferson Ave., Mason City, Iowa. 
Paramount Stars Fan Club, Barbara Dayne, 
2601 Ocean Ave., Brooklyn, N. Y. 

GLEN TRYON FAN.— Glen was born in 
Butte, Montana, Sept. 14, 1899. He is five 
feet ten and a half, weighs 174 pounds, has 
dark brown hair and green eyes. Yes, he's 
married to Lillian Hall. Write him at the 
Universal Studios, Universal City, Cal. 
Johnny Mack Brown at Dotham, Ala., 
twenty-four years old, six feet tall, weighs 
16.5 pounds, has black hair and brown eyes. 
His first picture was "The Bugle Call." 
Metro-Goldwyn-Mayer Studios, Culver 
City, Cal. Clara Bow is playing in "Wild 
Party," Paramount Studios, 5451 Marathon 
St., Hollywood, Cal. 

GOOFIE. — Matty Kemp hails from New 
York City. He was born Sept. 10, 1907. He 
is five feet ten inches tall, weighs 166 
pounds, has brown hair and eyes. His 
favorite recreations are golf and tennis. At 
Southside High School, Long Island, Matty 
w^as a member of the football and basketball 
teams, besides being one of the school's 
dramatic company. Matty is free-lancing 
right now. 

TERESA MARIE.— Clara Bow had the 
lead in "Kid Boots" and "Children of Di- 
vorce." 'Buddy' Rogers' ne.xt picture will 
be "Close Harmony." Send your letter to 
him at the Paramount Studios, 5451 Mara- 
thon St., Hollywood. Cal. Esther Ralston 
was born Sept. 17. 1902. She is married to 
George Webb. Esther can also be reached 
at the Paramount Studios, address above. 
Mary Pickford is playing in "Coquette" 
and Johnny Mack Brown plays opposite 
her. The picture I can supply of Mary is 
one showing her new bob. 

A MOVIE FAN.— Still they come. James 
Murray was born in New York City, Feb. 9, 
1 90 1. He is five feet eleven and a half, 
weighs 178 pounds, has light liair and green 
eyes. James was married recentl}- to Lucille 

(Continued 




IS 6/ Strength", "Here's H 



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A Little Lauder— and Funnier 



{Continued from page 74) 



the young Quillans hounded him to pave 
the way for movie tests in Los Angeles. The 
genial old Scotchman had no idea there 
would be any difficulty. The first day the 
troupe was in town he went out to Sennett's 
and told the comedy king he had some kids 
who wanted to work in the movies. Sennett 
said he wasn't interested. He said more 
than that. " Look here," thundered Quillan 
pere, "I'm a good Scotch-Irishman and 
you're a good Scotch-Irishman and I think 
you ought to give the kids a chance." 

The appeal to his patriotism must have 
licked Sennett and he consented to test the 
Quillans. According to the P. A., who was 
still carrying on the story during Eddie's 
absence, the test was terrible. Both Eddie 
and the old man had told him how terrible 
it was. There was a close-up of Eddie that 
was a little worse than anything else in the 
film. Somebody said, "He looks like Char- 
lie Ray." The Quillans thought they were 
being kidded, so they sneaked out the back 
way. And it took a Nick Harris detective to 
locate Eddie for Sennett after that. 

Eddie's comedy appeal in Sennett two 
reelers hit home almost from the start. He 
got so good that they decided to feature 
him. He was starred in a half-dozen or so 
featurettes, but he never reached the screen 
as a Sennett star, due to a little altercation 
between Mack and Papa Quillan. Eddie's 
dad loudly and forcibly objected to some of 
the slightly shady stuff that the gag men 
were writing into Eddie's scripts. He is a 
religious man, is the senior Quillan. For 
years he had kept faith with his public in 
good, clean entertainment and he wasn't 
going to sit by and watch the pride of his 
clan smear the family name with smutty 
comedy antics. 

GETTING THE FAMILY IN 

THE family was just about all set to hit 
out on the road again where fun is clean 
when Eddie got a call to make a test for 



"The Godless Girl." One glance at Eddie's 
particular brand of antics and De Mille 
signed him without even considering an- 
other player. They will tell you out at the 
studio that it was Eddie, the baby Lauder, 
who kept Mons. Cecil in good humor 
throughout the picture with his quaint 
laughable acting. After that came a con- 
tract with "Show Folks," and now "Geral- 
dine," to get things off to a good start for 
Eddie. 

"My next picture" said Eddie in a brief 
respite from the director, "is going to be 
called "Noisy Neighbors" and my whole 
family is going to work in it." He crossed 
and uncrossed his legs a couple of times for 
no particular reason. 

"I guess your folks are pretty excited 
about working in the movies?" I inquired. 

"Oh, I don't know," he replied, casually. 
"They don't know much about pictures." 
You got the idea that any one who would 
get excited about pictures was a little 
screwy anyway. 

"It's a pretty good story, though," he 
granted. " It's all about a bunch of vaude- 
villians, like we used to be, who inherit an 
old Southern mansion and think they are 
going to settle down to a nice quiet life, only 
to find out they're located between two 
families in a feud. It's a pretty good idea," 
he repeated, "But I guess they'll change it 
before we start." 

I took a quick look at Eddie to see if there 
was a tinge of sarcastic humor underlying 
that last crack, but he was indifferently 
regarding the tip of his shoe; so I guess there 

In the meantime there was "Geraldine" 
to be finished and the director was calling 
for him again. 

" I guess I've got to work" he apologized. 
I surmised as much myself. He shuffled his 
feet a couple of times and then shook hands. 
He said he was glad to have met me. 

I was glad to ha^'e met him too. 




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The Answer Man 

iCoiilinucd from page iij) 

McNames. Norma Talmadge was born 
May 2, ,1895. The next thing to worry about 
is the turn-in value on a used cigarette 
lighter, late 1927 model with extra flint. 
Helen Foster, Cornelius Keefe, Ray Hallor 
and Alice Lake have the leads in "Circum- 
stantial Evidence," Chesterfield Prod., Met- 
ropolitan Studios, 1040 No. Las Palmas 
.\xe., Hollywood, Cal. 

\ ll.( )IUDA BLOSSOM.— Glad you like 
(Mil iiiaun/ine and tliis department. Don't 
,via\ :n\a\ so lonjr next time. Your letter 
Nvill ivarli Olive Hiirdcn in caro of the FBO 

Slinlitis. T.'IO ( idwci- Slrc't'l. I lollywood, Cal. 
^lal■^ \(ilan. I rii\(Msal Sliidios, Universal 
Cil>; Cal. Ivv Harris was llie leading lady 
in "Fascinating \oulh." 

MYSELF. — George Bancroft is playing 
in "The Wolf of Wall Street," Paramount 
Studios, S451 Marathon St., Hollywood, 
Cal. Milton Sills in "Comedy of Life," 
First National Studios, Burbank, Cal. Clive 
Brook "The Four Feathers," also at the 
Paramount Studios. Evelyn Brent's latest 
is "Interference." Viola Dana is four feet 
ten. Nita Naldi, five feet eight. She is one 
of the tallest. 

W.,I. GRIFFITH.— ThelmaTodd is about 
lwent>-two years old, five feet four, weighs 
122 pounds, blonde hair and blue grey eyes. 
Has been playing in pictures about three 
years. Send your letter to the First National 
Studios, Burbank, Cal. Corinne Griffith 
and Grant Withers have the leads in "Satur- 
day's Children." Charles Delaney and Jac- 
queline Logan in "The Faker." Write them 
at the Columbia Studios, 1408 Gower St., 
Hollywood, Cal. 

J.E.R. — Doris Dawson was born in Gold- 
field, Nevada, nineteen years ago. She is 
five feet one, weighs 106 pounds, has chest- 
nut color hair and blue eyes. Playing in 
"Children of the Ritz" starring Dorothy 
Mackaill and Jack Mulhall. Write her at 
the First National Studios, Burbank, Cal. 
She'll be glad to hear from you. Joan Craw- 
ford and Nils Asther had the leads in 
"Dream of Love." 

I.C.Y.D.K.I.— I'll take the house and 
garage. You can reach George Meeker at 
the Fox Studios, 1401 No. Western Ave., 
Los Angeles, Cal. No, his hair wasn't really 
cut off in "Four Sons." It no doubt was a 
wig. You pronounce Nils Asther's first 
name 'Neels.' His latest picture is "\^■ild 
Orchids" Metro-Goldwyn-Mayer Studios. 

MOSTLY MARY.— What's the rest? 
Eddie Dunn was Al Pearce, Jack Oakie was 
Searchlight Doyle, Jean Laverty, Belty, 
and Dan Wolheim, "Double-Duty Duffy" in 
"The Fleet's In." Clara Bow is five feet two 
and a half. James Hall, five feet eleven. 
Charles Farrell six feet two. Buddy Rogers 
and Ramon Novarro are not engaged. 

A SUBSCRIBER.— I believe we always 
give the men a break. Gilbert Roland was 
born in Spain. He's twenty-four and his 
most recent production is "The Woman 
Disputed." starring Norma Talmadge. Don 
Alvarado, Nov. 4. 1904, playing in "The 
Apache." Send vour note to the Tiffanv- 
Stahl Prod.. 4.516 Sunset Blvd., Hollywood, 
Cal. Charles Rogers, "Close Harmony" will 
be his next and Nancy Carroll plays oppo- 
site hira. John Barrymore's latest picture 
is "King of the Mountains." Dolores Cos- 
tello was born in 1906. Write her at the 
Warner Brothers Studios, 5842 Sunset 
Blvd., Hollywood, Cal. 

{Contimied on page 125) 




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If You Know That 

Chef D'Oeuvres 

Doesn't Mean 

Head Cook 



For those who like French dressing, both sartorial and 
prandial. 

For those who know that a chef d'oeuvres isn't a head cook. 

For those who sometimes have a small cup of coffee even 
in their own homes. 

For those, more generally, who like a trifle more piquant 
seasoning in things. Who think a step further than the 
obvious and the everyday. Who like an idea for itself. 

And who also like the movies. 

We recommend attention to Motion Picture Classic. 

Classic is a motion picture magazine with all the infor- 
mative material that must characterize a periodical of 
its ambitions. 

But it is a trifle more than that. It is a magazine that 
serves its information with a bit more dash, a bit more 
sparkle, a bit more sophistication than is commonly en- 
countered. 

For those who believe that fame in Hollywood is not 
gained by Civil Service rules, we should not advise it. 

But for all who do not, we should. In fact, as Ed Wynn 
used to declare, we come out boldly and say we do recom- 
mend it. 

We even go so far, semi-finedly, as to suggest that \ e 
12th of every month you keep an all-seeing and alert ey.\ 
upon the newsstand for it. And, finally, that you buy a 
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Motion Picture Classic 

It's the Magazine with the Personality 



The Celluloud Drama 

(Continued from page 6j) 

the field, are as bullish as ever on the talkie 
market. With a year's jump on the com- 
petition, their Vitaphone attractions are still 
leading. Besides any quantity of short sub- 
jects, the Warners seem to be resurrecting 
old stage successes considered suitable for 
the singing screen. Such vehicles as "The 
Hottentot," Willie Collier's racing farce; and 
the musical comedy, "The Time, the Place 
and the Girl," are scheduled for early pro- 
duction. "The Desert Song," the first Vita- 
phone operetta is completed. Warners now 
control First National, too. But nobody 
seems to know just what is planned for pro- 
duction at the Burbank lot. Perhaps the 
brothers will produce a few silent ones there. 
Although the huge sound stages which 
have been erected make the lot thoroughly 
equipped for the recording of hundred- 
percent Vitaphone pictures. 

MOVIE "follies" 

FOX has several in the bag. Most inter- 
esting, perhaps, is the first edition of 
"The Fox Follies." This is to be an annual 
event, and will fill the place in the movies 
occupied by the Ziegfeld "Follies" on the 
stage. It will be similar to a revue in form. 
All the talent on the lot will be called upon 
for a turn. Sue Carol and Lois Moran are 
prominent in the initial production which 
is colorful with the presence of various 
teams and personalities from the theater. 
The Fox Movietone newsreel has attained 
a popular permanency with patrons of 
wired theaters. This item, at least, has 
surely come to stay. So have the Movietone 
short subjects. So far as drama is concerned. 
Fox and Movietone are holding their places 
in the sound sun. 

Perhaps the biggest news of the day is 
the acquisition by FBO to the screen and 
sound rights of "Rio Rita." The Radio 
Corporation of America now controls this 
organization, and the plans, not yet an- 
nounced in full, are reported to be the most 
ambitious the organization has ever ex- 
perienced. In filming "Rio Rita," the 
services of the principal actors in the stage 
version have been secured. 

Out at Pathe, "The Missing Man," 
Pathe's first talkie, has been finished; and 
"Listen Baby," featuring Eddie Quillan, 
and having a lot more Ouillans in the cast, 
is well under way. There seems to be some- 
thing doing at Pathe. Tests by the score 
are being taken by Paul Bern and Eddie 
Goulding. And they are not being taken for 
fun. It looks very much as though a lot of 
big names will be on Pathe contracts before 
long. 

Universal is another company that isn't 
going the whole hog on talkies. At Universal 
City they believe the picture is the thing. 
And that a good silent film will do better 
business than a so-so sounder. But just the 
same, they are bowing to the clamor to the 
extent of a series of Movietone shorts; and 
plans for dialogue in the productions of 
Reginald Denny, Jean Hersholt, Laura La 
Plante and others. In fact, Universal 
insists that all its players are prepared to 
step into talkies at a moment's notice. 
"Broadway," of course, will be an all- 
audible. 

It is not likely that the lesser, independent 
companies will go in extensively for sound. 
At present it is too expensive. For in- 
stance, one sound-device concern asks a 
sum of §50,000 as a license fee for the use of 
its apparatus. This is for either one or 
twenty pictures. Twenty thousand of the 
amount must be put up in advance. Then 
there is a rental of S2500 per day on top of 
that. In addition to the lights and other 
technical equipment. 




K. D. Rahm 

The biggest stage hit of Broadway last season, namely, "Coquette," has reached 
the screen and Mary Pickford is the star. The particular scene above shows Mary 
during her father's absence, stealing precious moments of love with her moun- 
taineer lover, John Mack Brown 



STAGE STARS DISAPPOINT 

AFTER a few of the present crop of in- 
-i*- work pictures are released, there is li- 
able to be a cessation in the panic to sign up 
stage names for the talkies. Frankly — but 
whisper it — the stage people aren't proving 
so hot. It seems that the fact they come 
from the theater doesn't necessarily endow 
them with voices that reproduce, or with 
acting abilities desirable in pictures. Ruth 
Chatterton, for instance, has been rather a 
keen disappointment histrionically and 
vocally as well. The talkies will eliminate 
some of our movie players. Rut producers 
are going to find that the qualities they seek 
are to be found right in their own back 
yards. The boys and girls already on the 
lots can do as well in the sound pictures as 
any of the theatrical imports. It will be 
good business to give them the opportunity. 
It is not difficult to forecast that the 
forte of sound pictures is going to lie in the 
production of two-reelers and one-reel 
novelties. In these forms there is no ques- 
tion regarding the entertainment offered. 
The newsreels are included, of course. For 
feature-length productions, the best bets 
will be musical shows, either originals or 
translations from stage comedies. Rollick- 
ing, hokum farces along the lines of "The 
Terror" should become a fixture. Provid- 
ing, of course, that there are enough Louise 
Fazendas to go around. Thus far, straight 
drama introduced from the theater has 
proved something akin to a flop. Picture 



fans cannot be interested in drawing-room, 
society dramas, where the characters group 
themselves about a tea-wagon, or follow 
one another hither and j-on about the 
premises indulging in dialogue, monologue 
or asides. Pictures are pantomime in their 
very souls. There must be action. The 
classic precept of the Sennctt lot still holds 
true: "Ya gotta have a chase." Disguise it 
as vou will. Doll it up with production 
value. Put Gish and Swanson and (ulbert 
and the rest of 'em in it. Rut one way or 
another, " Va gotta lia\-e a chase." 

It would seem to the innocent bystander 
as though Westerns provided ideal material 
for tlie introduction of sound. The galumph- 
ing of hoi-ses, horses, horses; the bang- 
bang, Indian wjioops and rowhoy whoopee 
•estalling the audience 



by hissing himself. Rut 



-ange 



Westerns have passed with the advent of 
the talkies. Tom Mix is through at FRO 
after one more. Tim McCoy is out at Me- 
tro. No more shoot-'em-ups from Para- 
mount. And Hoot Gibson is riding aero- 
planes in his "oprys." Ken Maynard has a 
few more scheduled at First National. Rut 
it won't be long now. Unless something 
alters the handwriting on the wall. It may 
be that a few like Fox's "Old Arizona" will 
keep the great open spaces with us under 
another name. Let's hope so. We'll promise 
to recognize the old standbys. Like old pal 
Jack Dalton himself we'll say, "Take off 
them grogans, we know you." Even in the 
talkies. 






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Letters to the Editor 

(Continued from page 114) 



Will the "Talkies" eventually predomi- 
nate over the "Silent Drama"? 

There has always been a distinction be- 
tween the stage and the cinema, and that is 
the charm of pantomime, which is the force- 
ful element in every motion picture. 

I have always disliked the stage, but have 
always been an enthusiastic movie fan. The 
objection was the dialogue; too much 
reality, for everything is before us, not 
enough for the imagination, and we humans 
thrive on imagination. 

Our voices belong to our individual selves; 
although an actor is able to change his 
makeup, his dress and mannerisms, he is 
never able to change his voice for various 
roles. Many of our greatest stars are for- 
eigners. The effect of an actor with a Ger- 
man accent playing the role of an Italian or 
a Frenchman would be rather misplaced. 

Lon Chaney may be "The Man of a 
Thousand Faces" at the present time, but 
with the movietone he is merely the man of 
one voice. 

However, I see no objection in the news- 
reels, for in that, the true facts of everyday 
life are expressed. Also the musical score 
can be used to advantage. For instance, in 
"Warming Up" it enabled the on-looker to 
enter into the spirit of the game with per- 
haps more enthusiasm, but the dialogue 
remained silent throughout the picture. 

Action, not sound, constitutes the soul of 
"Drama," and the two can never success- 
fully co-ordinate without taking from the 
screen that element of wonderful imagina- 
tion which embodies the heart with shadowy 
dreams. 

Allow the stage to continue with its 
spoken dialogue and reality, but preserve 
that eloquent significance, which the screen 
possesses— SILENCE. /. N. 



She Knows What She Wants! 

ELIZABETH, N. J.— I resent what a 
certain fan said in a letter published in the 
December issue. I believe that if anyone 
is crazy it is that fan himself. I dislike the 
Vitaphone, and some of my reasons follow. 
First, it is entirely too loud, and its shrill- 
ness gives me a headache. The Vitaphone 
short subjects are worse than boring and 
this canned vaudeville which is being forced 
upon us is a big mistake. The talking de- 
vices are far from perfected as yet, and often 
the voices appear to be coming from any- 
where but the player's mouths. It also dis- 
torts the voices and spoils an otherwise good 
picture. If the producers gave us a chance 
to get used to these talkies, by having only 
a few dialogue scenes, the invention might 
prove a success, but they rush blindly into 
producing 100 per cent talking pictures, 
which are boring and monotonous. I can- 
not understand how anyone can like the 
sound as illustrated in "Our Dancing 
Daughters." This was an extremely good 
picture, excellently acted, but the voice of 
someone invisible, starting to sing, was very 
distracting and disturbed my concentration. 
There is already a lot of unnecessary noise 
in the world, and talkies do not improve 
this condition. 

The girl who wants to know why talking 
among the audience is not liked is really too 
silly to answer. Can't she understand how 
annoying it is to have someone jabbering 
while you are trying to concentrate on the 
picture? I do not mean I never talk to my 
companion, because I do, but not for a con- 
ference. Just the other day I moved as far 
away as I could get when two women came 
in and did nothing but talk. 

Also, I enjoy pictures of the underworld, 
and see no reason to make us suffer with 



goody-goody pictures, just because children 
might be influenced by seeing crooks. The 
crooks never win in the end, do they? And 
as for life, the children have no better place 
to learn than in the movies. The movies 
have a hundred good points to blot out all 
their bad ones. Marion L. Hesse. 



Honor for the Extra 

NEW YORK CITY— Why don't we 
hear more about the doubles and at least one 
or two of the extras? To me, they work just 
as hard or even harder than most of the 
stars do. Of course there are exceptions, 
such as Bebe Daniels, if I have heard right, 
for she has no double. She is far greater an 
actress, in one sense, for her acting is real. 
It is not a double that gets her concussions 
, and fractures. She takes her own medicine 
as if it were a sugar-coated pill and I'll bet 
she gets a kick out of it. 

What became of those fellows in " Wings " 
who faced death, so that people could get a 
thrill for two seconds and then forget them, 
by planning neat little smashups? 

What has become of that young girl who 
played the part of Miss Costello's right 
hand man in "When a Man Loves"? She 
could act, and yet she was never mentioned 
in reviews. 

Buddy Rogers in "Wings" and Dick 
Barthelmess in "The Patent Leather Kid" 
needed piles of extras to make those pic- 
tures successes; and to give you the thrill 
that they were intended to give. 

Please don't misunderstand me by think- 
ing that I don't like Dick, Buddy, Dolores 
and Bebe, for I do and they are all my 
favorites. All that I am asking is that for 
you to give a hand to some of those who 
helped make our big pictures big. 

Dorothy McMahon. 



More Suggestions 

CINCINNATI, OHIO— Please have more 
movies like "Glorious Betsy," "Quality 
Street," and "Two Lovers." They are so 
romantic, so picturesque, so interesting, as 
well as educational. When I see such 
movies, I forget that I am living in the 
Twentieth Century, and carry myself back 
to those charming days of chivalry and 
romance. These attract the better class of 
people more than the so-called "sex pic- 
tures." The public gets tired of unclean 
amusement-; better entertainment is wanted. 

Oh, how I would like to see Marion 
Davies in the r61e of Emma, in Jane 
Austen's novel, "Emma." She would be 
the ideal person for that lovable match- 
maker, as Emma Woodhouse was.| I would 
give much to see such sweet, clean stories 
as Jane Austen's, made into movies. 

Ramona Kaiser. 



And Still More 

BRIDGEPORT, CONN.— Along about 
last spring, speaking dialogue utterly spoiled 
the whole picture. It was loud and coarse, 
just TERRIBLE! 

But what a change! During the last five 
months it has become the very source of 
amusement. The only talking pictures I 
have seen so far, are, "The Lion and the 
Mouse," "Glorious Betsy," "Tenderloin" 
and "Caught in the Fog." I wish that 
someone would put "Little Women," into a 
talkie. It is a story that will never grow old, 
and it would create a fine entertainment. 
I have always figured out that Ramon 
Novarro would be just ideal for "Laurie," 
and Norma Shearer as "Joe." C. B. D. 




Do Unseen Hands 
Keep You Dumb . . 

When You Ought to Talk? 

How often have you wanted to talk, but held back, silent, because you felt 
unequal to the other people present? How many times have you passed up, 
or avoided, the chance to talk in public — before your business associates, your club 
or lodge, because of your fear of stage fright? Are you afraid of your own voice- 
instead of being able to use it as one of the greatest business and social assets in 
your possession? And yet you might be surprised to hear that many of the most 
brilliant public speakers we have today felt exactly this way— before they learned 
how to develop their "hidden knack" of powerful speech— a knack which authori- 
ties say seven men out of every ten actually possess. And the chances are that 
you, too, have in you the power of effective speech— which, if unloosed, would be 
almost priceless to you in a social or business way. Find out if you have this 
natural gift — read every word of the message below. 

Discover These Easy Secrets 
of Effective Speech 



PROBABLY you have never 
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audience. Still it all 
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Another and a brilliant recruit from the stage to the screaming screen is Jeanne 

Eagels, the original Sadie Thompson in "Rain." She is permitting Monta Bell 

to read her an outline of the action of a talkie he is to direct 

Don't Give It All to Broadway 

{Continued from page jj) 



Lloyds and the Clara Bows and all the other 
picture people whom they have learned to 
know and love. If the producers thrust the 
movie players aside and try to substitute 
new faces, they will have to find new fans 
as well. 

Carl Laemmle, that veteran of the in- 
dustry, recognizes this and announces that 
he for one is going to move slowly in making 
radical changes in his casts. "Box office 
means something," he says. "The fans 
won't take anything or anyone they don't 
want. You can't make box office attrac- 
tions overnight. And what is more, a good 
mixer — the man at the voice controls — can 
regulate his levers in such a way that almost 
any voice can be made pleasing to listen to." 

Every stage player has had to learn how 
to talk. But every screen aspirant cannot 
learn how to photograph well. Millions are 
being spent in a frantic building of sound- 
proof stages in Hollywood at this moment. 
It would cost comparatively little to give 
the present players a few lessons in voice 
handling, inflection and tone control. Will 
they be willing to learn these things? They 
must, or fall by the wayside. Very few of 
the younger screen favorites have had stage 
experience: Anita Page, Alice White, Buddy 
Rogers, Janet Gaynor, Charlie Farrell, 
Dolores Costello, Sue Carol. They have 
come to the screen from college classrooms 
and debutante parties. Their success is very 
precious to them. They will work, study, 
practise scales, do anything to keep their 
places in the Kleigs. Give them a chance 
and see. 

THE TREK FROM BROADWAY 

WE protest. This morning we received 
notice that Vilma Banky has as her 
new leading man, Robert Montgomery, 
chosen from fifty New York stage stars in- 
stead of from a hundred Hollywood pos- 
sibilities. Elinor Griffith, Broadway fav- 
orite, arrives to play the leading feminine 
r61e in United Artist's "Nightstick." 
Opposite her is Chester Morris, another 
'mportation from the footlights. Two more 
stage newcomers are in the cast. Regis 
Toomy and Harry Stubbs. From Metro we 



learn that Raymond Hackett, hero of 
"The Trial of Mary Dugan," will play the 
same role in the talkie version. Mary Dolan, 
a New York actress, is being taught screen 
acting at the same studio, a studio which 
already has such promising material as 
Gwen Lee, Dorothy Janis, Raquel Torres, 
Dorothy Sebastian, Joan Crawford, Anita 
Page and Josephine Dunn to choose from 
when there is a pretty girl role. 

Famous Players has annexed Ruth 
Chatterton, John Cromwell, Maurice Chev- 
alier, all stage stars. In their Long Island 
studio they have Cantor, Ann Forrest, the 
Marx Brothers and many other Broadway 
players working on three talkie features. 
Fox has brought out Margaret Churchill of 
the Theatre Guild, Helen Twelvetrees and 
Charles Eaton. In a recent picture, "The 
Ghost Talks," the two latter players could 
not be heard as clearly as Carmel Myers, a 
screen star who has never been on the stage. 
Helen Twelvetrees looks very much like 
Fox's own" Nancy Drexel; while young 
Eaton, a juvenile of seventeen, resembles 
our own Bennie Alexander who has grown 
up in the movies and has an excellent voice. 
Universal has signed Paul Whiteman. And 
the end is not yet. 

We protest. Not because we wish to seem 
inhospitable to these visitors from the 
footlights; not because we are afraid that 
they might not succeed on the screen; but 
because we feel that we have enough talent 
within the industry now to fill all the needs 
of the talkies, because we know that the 
fans do not want to lose their film friends, 
who are our friends, too. 

These newcomers are probably nice boys 
and girls, but they're not home folks. We 
don't know their fine qualities and their 
failings; we haven't watched them grow 
from gawky youngsters into famous stars, 
we don't know any interesting gossip about 
them; they haven't confided their private 
joys and griefs to us, shown us their new 
cars and Italian villas and babies, clasped 
our hands and wept on our shoulder. 
They're not our own. And we should be a 
poor friend if we wouldn't stand up for our 
own. 




In America only a few months, and al- 
ready a cowchap: John Loder, the 
British screen actor, as he appears in his 
first Hollywood movie, "Sunset Pass" 

The Answer Man 

{Continued from page iiQ} 

DI ANNE — The weather here in New 
York is just great. Lars Hanson and Marcel- 
ine Day had the leads in "Captain Salva- 
tion." Marceline also played opposite Ra- 
mon Novarro in "The Road to Romance." 
Ramon's real name is Samaniegos. Write 
Charles Farrell at the Fo.x Studios, 1401 Xo. 
Western Ave., Los Angeles, Cal. Always 
glad to hear from you. 

GIPSY M. J.— You bet I can supply you 
with a photo of Culien Landis. Cullen wa.s 
born in Nashville. Tenn., July 29. 1895. He 
is five feet six inches tall, weighs 145 pounds, 
and has curly brown hair, and deep blue 
eyes. Married to Loca Hearne. Motion pic- 
ture men have some tough assignments to 
handle, and if you don't think they have, 
try to find in this or any other town, for 
that matter, a Chinaman with a queue. 
Harold Lloyd has a sequence in his new 
picture, his first of the sound era, which 
called for a Chinaman with an old-fa.shioned 
queue. His name is Wang Lee. he is sixty- 
five years old. He was found in San Fran- 



BUDDY ROGERS FAN.— Buddy will 
always be a favorite. His next picture will 
be "Close Harmony," Paramount Studios, 
5451 Marathon St., Hollywood, Cal. He 
attended the local schools and the Univer- 
sity of Kansas where he studied for three 
years. He was one of the fortunate appli- 
cants to the Paramount School of acting and 
after a preliminary groundwork in the me- 
chanics of acting and make-up, Rogers with 
fifteen others was cast in a picture titled 
"Fascinating Youth." He has not had any 
theatrical experience other than a few ama- 
teur school plays. He is fond of outdoor 



We Wonder How 

Wise An Apple 

He Was 



Maybe the boy who first came forward with the idea of 
letting well enough alone was a wise apple. 

Rut we wonder about it seriously. 

\^'e wonder what might have happened if everyone 
who ever heard that advice had taken it. 

For if people had been willing always to let well enough 
alone, we'd still be sending letters across the continent 
by pony express. 

We'd still be depending for our thrills upon looking at 
pictures of Vesuvius through the hand stereopticon. 

We'd still be getting our music from the old prickly- 
pear music-box roll. 

For those things, in their way, were well enough. 

But if everybody had been content to let things rest 
that way, we'd have no air mail, no movies, no victroleis, 
no radios. 

In short, we'd have a lot less things to make life as 
pleasant as it is. 

And in particular, w^e wouldn't have a fan magazine 
of the sort that MOTION PICTURE is. 

For MOTION PICTURE is built upon the premise 
that well enough isn't enough. 

Its idea is that if every issue isn't better than the pre- 
ceding, then the quality of the magazine isn't up to the 
proper standard. 

Every successive number has got to have more news, 
newer news, newer viewpoints, newer ideas, fresher and 
more interesting illustrations than the one before. 

Not easy, of course. That is, not easy on those who 
publish it. But easy on those who read it. Which is the 
important thing. And which is why, we believe, MOTION 
PICTURE is the fastest-growing and most lastingly liked 
periodical of its sort in the world. 

Motion Picture 

It's the Magazine of Authority 




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Back from Hawaii with a broad smile 

comes Al Jolson. He has returned from 

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single 

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BAB H. — David Lee is not the son of Lila 
Lee. Lila is married to James Kirkwood 
and they have a son, James Jr. Lila is play- 
ing in "Honky Tonk" starring Sophie 
Tucker. Write them at Warner Brothers 
Studios, 5842 Sunset Blvd., Hollywood, 
Cal. Norma Shearer was born in Canada, 
Aug. 10, 1904. Richard Arlen, Charlotts- 
ville, Va., about thirty years ago. AI Jolson's 
next picture will be "Mammy." 

RETER, PETER.— What is a college 
student's favorite book? I believe it's a 
checkbook. Billie Dove has brown hair and 
eyes. Married to Irvin Willat. Her real 
name is Lillian Bohny. Malcolm Mac- 
Gregor, black hair and brown eyes. Married 
and has one daughter. Janet Gaynor, red 
gold hair, she is still single. Joan Crawford, 
blonde hair, single, real name Lucille Le 
Sueur. Your letter was too late for the 
January or February issues. 

PAULYNE.— The Paramount Studios 
here in the East are located at 6th and 
Pierce Aves., Astoria, L. L, but visitors are 
not welcome. This, if permitted, would 
naturally disturb the players. John Gilbert 
and Mary Nolan have the leads in "Thirst," 
Metro-Goldwyn Studios, Culver City, Cal. 

BOBBIE N.— Your letter will reach 
Marion Davies and Norma Shearer at the 
Metro-Goldwyn-Mayer Studios, Culver 
City, Cal. Lois Moran was born March 1, 
1907. Claire Windsor, April 14, 1897. 
Richard Dix, July 18, 1894. Rod LaRocque, 
Nov. 30, 1896. Leatrice Joy is not married. 
Corinne Griffith's husband is Walter Mo- 
rosco. Write Corinne at the First National 
Studios, Burbank, Cal. 

V. AND R.— Charles Ray has been play- 
ing on the stage. He was born May 15, 
1891 and is married to Clara Grant. Write 
the Wallace Reid Memorial Club, Ray E. 



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Brian wus iKini I'Vh. 17. 1 ')()!!, has ,hi.k 
brown hair ami dark liliio t'\t's. .Si-mi dial 
nolo to the Paramount Studios. 51,^>l Mara 
thon St.. Hollywood, Cal. Moro faiiiiros 
have Ikh'h made hy frowns — more sui"ce.s.ses 
are won by the narrow margin of a smile. 

KAPI. — Your letter will reach Barry Nor- 
ton at the Fox Studios, 140 1 No. Western 
Ave., Los Angeles, Cal. His latest picture 
is "The Command to Love." Johnny Mack 
Brown was born in Dotham, Ala., about 
twenty-five years ago. Playing in "Co- 
quette," starring Mary Pickford. Mary 
Brian, Feb. 17, 1908, single and her latest 
production is "Someone to Love." David 
Lee is three and a half years old. 

MARY BUD.— Francis X. Bushman, Jr. 
is placing in "The Jazz .\{;e," F.B.O Studios, 
780 Gower St., Hollywood, Cal. Gladys 
McConnell was Mrs. Trevor in "The Per- 
fect Crime." It was only a dream. \\ rite 
Clive Brook at the Paraniniint Studios, Si:,! 
Marathon Si.. llolKxvon.l, Cal. Frr<l 
Thom.son dic.l Clirislnm- llxr. II, • was a 
great fa\urilo. Ban % .\oi Ion's iir.M |iic- 
ture will be ■The Comiuand to Love." Fox 
Studios, LtOl No. Western Ave., Lo.s 
Angeles, Cal. 

DORLS HALDE^L\N.— Haven't the 
ni !iiL-nuoneil. Gary Cooper and 
Esther Ra'Nn ill art- sui.)porting Emil Jan- 
nings in 'An Alpinu Romance." Alilton 
Sills' piciurc " Tiie Comedy of Life" has 
been changed to "Love and the Devil." 
Colleen Moore's "That's a Good Girl" to 
'•Why Be Good?" Sue Carol and Nick 
Stuart are plaving in "Girls Gone Wild," 
Fox Studios, 1401 Xo. Western Ave., Los 
Angeles, Cal. 

MISS XO-X\ME.— You forgot to give 
me your name. Roland Drew.jWarner Baxter 
and Dolores Del Hio had the leads in 
"Ratnona." Your letlcr will reach Bebe 
Daniels at the Paramount Studios, 5451 
Marathon St., Hollywood. George O'Brien, 
Marceline Day and Farrell McDonald are 




One star in support of another: Blanche 

LeClair holds Raquel Torres as high on 

her shoulders as the fans do in their 

estimation 



vscmffPeMEN'' 




hated, feared — by 

always been a mystery. Voii study ] 
amazed, bewildered. For > ou can Irulhfully say 
"I don't understand what men see in her." 
But you want to know the secret — with all your 
heart. You want the "dangerous power." It is 
not that you desire to be the siren tvpe. If you 
could fascinate men at will, you would use your 
power ■wilhin reason. Well, then, you may; for at 
last the secret is known. Lucille Young, the world's 
foremost beauty expert, will give you the "dan- 
gerous power" — give it to yo\xiree. 

Nature's Greatest Mystery Unveiled 
All your unavailing study of fascinating women, 
your failure to succeed by like methods is easily 
explained. Nature has never desired a race of 
women, all fascinating. Her plan is for limited 
charm. She has said, "I'll give w 



to marry, and mate." 

n she has said, "I'll give the d 



of complete fascination." 
You know that this is nature's jjlan — though you 
may never have thought of it in just this way. 
Instead you have been puzzled. You have seen 
fascinating women possessed of no more than aver- 
age looks — some that you may have considered 
homely. You have seen women with poor figures 
outshine women with perfect figures. You have 
seen women of refinement cast into the shadow by 
coarser women. You have heard of "sex appeal," 
yet you know that thousands of women have re- 
sorted to physical charms as the main reliance — 
with inevitable failure. 

Strangest of all, you may have known some dan- 
gerously fascinating woman as a friend — known 
that she Vifas willing to give you her secrets. But 
she could not. For Nature, most cleverly, hi._ . 
her natural sirens blind to their own methods. 

One Woman in All the World Can Tell You 
Amazing, perhaps, but — so far as it is known — 
Lucille Young is theone w 



admittedly themosteffectiveia the world — used by 

scores of thousands of women. 

But more than beauty is absolutely necessary. 

Countless beautiful women are 710I fascinating — 

hardly attractive — as every woman know; 

So Lucille Young gives you also the very 



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remember, whatever your present appearance. Lucille 
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128 




Kathryn Crawford, in the act of remov- 
ing an apple from the place where it had 
been so comfortable, is quite a picker. 
But not nearly so good a one as the 
studio that discovered her 



playing in "Son of Anak," Fox Studios, 
1401 No. Western Ave., Los Angeles, Cal. 

PINKY.^Charles Delaney was born 
Aug. 9, 1900. He is five feet ten and a half, 
weighs 162 pounds, and has black hair and 
dark brown eyes. His latest picture is 
"The Faker," write him at the Columbia 
Studios, 1408 Gower St., Hollywood, Cal. 
Josephine Dunn is not married. At least 
not right now. Camilla Horn and Robert 
Armstrong are playing in ' ' The Lady from 
Hell." 

MARY BUD.— Irene Rich is the young 
lady you are referring to in "The Perfect 



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Letters to the Editor 

{Continued from page 122) 



Lauding the Movies! 

RTOUGHTOX, WIS.— I have read with 
interesi the letters sent in lauding and 
•lu' the movies. As a reader of 
Picture I wish to express my 
To begin with, I want to back up 
I r sent in by a reader stating that 
she t'ninks the mo\"ies the least harmful of 
all amusements. I certainly agree with her. 
I have been a mo\-ie fan ever since I couM 
read, and in not one instance have my 
. .)f it been changed. I have spent a 
.:c of my earnings at the local movie 
1 I hav^e never regretted it. Why? 
I have always found that the pic- 
tures are educational and carry' events that 
are true to life. And now that I have grown 
into the age where I must shift for myself I 
find that the movies are inspirational. Time 
and again discouragement has met me face 
to face and I have found that the movie is 
the best medicine obtainable. 

And I'll wager that more than one person 
has learned his histor>' from the movies. 
ni wager that scores of people have found 
the beautiful things of life because of the 
movies. And I'll wager that many a for- 
eigner has become accustomed to the 
American ways of living mainly through 
the mo\-ies. I, like thousands of other 
Americans, have made up my mind to be 
an asset to my country. Ask me, "How'd 
you get that way?" and I'll answer, "By 
spending my money for worthwhile movies 
instead of health-wrecking chocolates." 

I cannot bring this letter to a close with- 
out expressing my sincere thanks for the 
contents of the Motion Picture magazine. 
Its comment on the pictures released is 
worth its weight in gold and the interviewb 



oresented cannot be beat. Keep it up. 
R.J. 

Praise from the Young 

AUGUSTA, GA.— I have always had 



Z pu 



and s 



the other day a friend of mine lold me of a 
\'ery interesting story. She said that one of 
her friends was disheartened over her 
daughter because she never took any in- 
terest in her appearance at all, and of 
course she had very few friends. 

Her daughter had never liked the movies 
until so many good pictures were advertised. 
After she had gone several times her mother 
noticed that she began taking interest in her 
appearance and girls were not ashamed of 
her appearance and they began comin<; in 
numbers to see her. 

That was the beginning of that girl's life. 

I told my friend that ever>' picture I liad 
ever seen had a good moral and taught 
everyone a "lesson." A good many people 
go to the movies as a "pass time" but when 
I go, I go with the f'^r-i;,-,,, „f u.-.r-Tiinpr some- 
thing that someoiv ii'cd. 

I do hope that I nio\ic- 

tone will not go ' up the 

silent, restful, roiii:.;_ _. _ _:iiircly. 

Of course the movietone and \-ilaphone 
are of great advantage to singers, speakers, 
etc., but you find so few people who like 
them. 

Our Imperial Theatre gets much more 
trade than the Modjeska Theatre because 
people cannot get used to this unromantic, 
noisy drama. 

Of course this letter is childish because it 
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grown-ups . — Matlie Lamkin. 




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Timing the Talk! 

CEDAR RAPIDS, IOWA.— Now at last 
that we've got the movies talking (whoops! 
and they're a success), I would like to sub- 
mit a possible way of making the infant 
talkies even more attractive than they are. 

These talking sequences are fine; let's 
hope that every picture wUl be crowded 
with them before long. Yes, they are fine, 
but there are less desirable things in the 
talkies which I should think could be im- 
proved. 

For instance, those who saw Richard 
Dix's "Warming Up" knew all the way 
through that all the "noise" — for in Dix's 
picture it was merely noise — was made in 
the studio and tiot on the set at the same lime 
the picture was being filmed. 

There's the keynote of the whole thing. 
In the movies the producers key us up to 
believe that it's all real and in the talking 
sequences it is real but in many instances 
the words, presumably spoken by the actor, 
will drift through the amplifiers long after 
the picture of the speaking person is flashed 
off. It is to this that I object. 

Surely our fine movies and our promising 
talkies aren't to be ruined by this false syn- 
chronizing? Let's have the big fellows give 
a look at this. Robert Downing. 



Bravo, Norma 

PRAGUE, CZECHOSLOVAKIA. — Al- 
low me to send to your much admired 
magazine the following little article. I beg 
of you to print it in the "Motion Picture." 
I occasionally read in your magazine small 
articles concerning Norma Talmadge, which 
not only astonish, but also grieve me. I 
would be glad to think that they reflect 
only your correspondent's individual opin- 
ion, but not the "Motion Picture" point 
of view. The sympathetic American people 
who have created the unique Hollywood, 
know, undoubtedly how to appreciate their 
artists, the more so such a splendid artist as 
N. Talmadge, who judging by her latest 
productions (The Dove, Camille, Kiki) has 
excessively developed during these two last 
years. At the present moment Hollywood is 
invaded by new cino-stars, stars whose 
artistic future is often problematic. We, 
Russians, have a high artistic standard and 
we require not only a handsome appearance, 
but also a real artistic gift. N. Talmadge, 
who is an exceptionally gifted dramatic 
artist holds us in suspense and charms us 
by her deeply passionate play, by the 
variety of expressions upon her nervous, 
refined face, the nobleness of her demeanor, 
the gracefulness of her slim figure. And not 
only does she excell in dramatic parts, but 
she is also charming in comedies, for ex- 
ample in Kiki, where she shows us a real 
comic art. The most insignificant films, 
become beautiful and exceptional with N. 
Talmadge. Remember " The Dove." Wliat 
would it be without her? And the old play 
"Camille?" N. Talmadge has made a 
masterpiece of it. I believe that no othet 
cino-star could obtain such brilliant re- 
sults. By the by, "Camille," is Holly- 
wood's and Mr. Niblo's best production^ 
It is to be hoped, that the "United Artists" 
headed by the honoured Mr. Schenck truly 
appreciate such a splendid, noble and 
unique artist and that she will oftener ap- 
pear at the screen in the best parts and the 
best films. This is the opinion of my com- 
patriots and also of the Czechoslovakia n 
society who are deeply impressed by N. 
Talmadge's play. 

Hoping, dear sirs, that you will have the 
amiability to insert my letter in j'our 
"Motion Picture," believe me, — £. Hofeld. 



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KEEP THAT SCHOOLGIRL COMPLE 



^e Souths Very Soul ^ 

Jneakim to you from Down //z Dixie 



I^EARTS'^DIXIE 

is the first authentic screen record of the Ohl South ever produced. It is 
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100 

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Watch for it at your favorite theatre 
Presented by WILLIAM FOX 

Story and Dialog by Walter Weems 
PAUL SLOANE Production 



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AR THOSE 
HEARTS BEAT 
THE CADENCES 
OF THEIR RACE.. 

. . along the levees 
and in the cotton 
fields . . .strummin' 
banjos . . . chanting 
spirituals . . . where 
life is infused with 
an ageless melody 
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O VI ETON E 

^^ More than Sound^Life itself! 




- IN-- 



V#MY BE GOOOr 



>www%/wwWlth VITAPHONE/w%/vvwwv\ 



Flaiiiing^ Youtli— 1929 Model 



"Flaming Youth" was Colleen's greatest 
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Colleen starts out as a good SALES girl ... 
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to be bad? 

Colleen shows you in this the jazziest, 
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Co see it. And HEAR it! You've never seen 
anything like it! 




Volume XXXVII, No. 3 



Features in This Issue 

I Moore by Marland Stone, especially created by Russell Ball 

>,ir TenHer Lovc-Lifc! 



Cover Portrait of Colle< 



This Heartbreak Business. . . . 

The Case of Eva von Berne is a . 

The Flesh and Blood Racket 



Ruth Bicry 28 

Walter Ramsey 31 

Herbert Cruickshank 33 

.. Dorothy Manners 34 

... Dorothy Donnel! 40 

Gladys Hall 42 

Ruth Biery 44 

Helen Louise Walker 48 
Cedric Belfrage 50 



. Joan Darby 59 



n Hollywood; He 



If I Were A Man 

Badanava Would Be Burly. Early and Ap 

— A Woman 

Bill roucll Would Go Eflsy On Baby Talk 



■ Mary Standish 67 



11 Home-Makin 



It's A Greet Game. . 



rs Cards Chiefly To Thos 



(Irace Kingsley 70 
.Cedric Belfrage 76 



CoLi.v J. Cruickshank, Art Director 



Motion Picture is published monthly at 731 Plymi 
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FIFTEEN DOLLAR LETTER 

Fans, To the Rescue 

MONTREAL, CANADA— I sincerely 
think that it is my duty, as a movie fan, 
also in the interest of the " movie stars," to 
come to their rescue, concerning the state of 
affairs that's taking place, as regards the 
actors and actresses who are leaving 
Broadway or the legitimate stage and 
flocking to the "Film Colony," Hollywood, 
to enter the "movies." This, I am sure, 
will be threatening most of our "movie 
stars," also those who are on the way to 
stardom, and crowding out the thousands of 
extras who are patiently waiting for a 
break that will prevent them from starving 
to death. I think that it is about time some- 
thing should be done in this matter. I 
really can't understand why there aren't 
more fans writing on this subject and 
coming forward in their defence. For years 
the "movie stars" have given their utmost 
devotion in providing the public with the 
best of entertainment, and I fail to compre- 
hend why the public are hesitating in send- 
ing their views in their defence. The 
producers should also take notice. It is 
only through co-operation with the public 
that they will ever achieve the greatest of 
success, also think of the effect it will have on 
them financially. And now it's up to the 
public to awake to the fact and do their share 
by coming forward to assist their "beloved 
stars" in recompense for what they have 
contributed to our life's enjoyment — the 
greatest of all entertainments, "the movies." 
A rthur E. Rivers. 



need generous experiment before they can 
give true satisfaction. Voices are grotesque; 
other noises jar. Soothing, indeed, is the 
silent drama running in harmonious accord 
with the clear strains of a real symphony 
orchestra. May such entertainment never 
be abandoned! 

Nevertheless, speaking pictures have a 
wondrous future. Considering the fact that 
a little over two years ago they were prac- 
tically unknown to the public, their swift 
advance has been remarkable. 

What a pity they did not arrive sooner! 
It would have been a great privilege to have 
heard — and still hear — the voice of the be- 
loved Valentino, or the charming Wallace 
Reid, or other favorites of old. 

Yes, the movies keep pace with science 
and invention. Perfection will be ever out 
of reach, of course, but good times, and sur- 
prises always will await us who love the 
cinema. Marion Vickers. 



TEN DOLLAR LETTER 

A Few Wise 
Words! 

WASHING- 
TON, D. C. 
— -The cinema 
progresses with 
such rapidity 



that I 



; grows 



dizzy watching 
its flight toward 
the movie mil- 
lennium. The 
beauty of the 
settings, the per- 
fection of mod- 
ern photography 
are joys to be- 
hold, especially 
when viewed 
from a luxurious 
seat within a 
present-day pic- 
ture palace. 

I think, 
though, that 
sound pictures 



Prizes for Best Letters 

Each month Motion Picture will 
award cash prizes for the three best 
letters published. Fifteen dollars will 
be paid for the best letter, ten dollars 
for the second best, and five dollars 
for the third. If more than one letter is 
considered of equal merit, the full amount 
of the prize will go to each writer. 

So, if you've been entertaining any 
ideas about the movies and the stars, con- 
fine yourself to about 200 words or less, 
and let's know what's on your mind. 
Anonymous communications will not be 
considered and no letters will be re- 
turned. Sign your full name and ad- 
dress. We will use initials if requested. 
Address: Laurence Reid. Editor, Motion 
Picture, Paramount Building, 1501 Broad- 
way, New York City. 



FIVE DOLLAR LETTER 

Voices of the World! 

NEW YORK CITY— There has been, 
during the past six months, much discussion, 
both for and against the talking films. 

While I do not wish to enter here into the 
various points of discussion, I wish to say 
that I have been able to hear King George 
of England and King Alphonso of Spain in 
interesting addresses, as well as many other 
important personages. 

This is something that the silent drama, 
which I have intensely followed since the 
very beginning, has been unable togive. 

The wonderful treats which are in store 
for movie lovers of the future cannot be 
foretold, especially if progress is made dur- 
ing the next five 
years as has 
been done dur- 
ing the past 
year. 

In preserving 
the voice of the 
leaders of the 
world in all lines 
of endeavor, the 
talking films 
have made their 
place in the his- 
tory of the 
world. 
Jean E. Renard. 



Bill, Come 
Back! 

BLOOM- 

FIELD, N. J. 

— I have just 

had an oppor- 

(Continued on 

page 8) 



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Letters to the Editor 

{Continued from page 6) 



tunity to see your issue for this month, and 
I feel like your reader, " H. March Dempsey, 
of Johnstown, Pa." There is also an "urge " 
within me to write what I think of Bill Hart. 
It seems to me that this party has ex- 
pressed the views of thousands of Bill Hart's 
friends and fans. I, too, feel lost since I have 
not seen Mr. Hart in so long a time, and I 
do hope that we soon will have the pleasure 
of looking upon his face in some good pic- 
tures. Pictures worthy of him — for there_ is 
surely a vital need for his good, clean pic- 
tures. Long may he live, for his pictures 
were always filled with rugged strength and 
beauty. M. E. Russell. 



Pass Up the Pie! 

NEWARK, OHIO— A few years ago we 
were told that the screen was getting away 
from slap-stick. Harold Lloyd, Buster 
Keaton, Douglas MacLean, and a few others 
were making an earnest effort to rid the 
world of custard pies. The motion picture 
audience no longer cared for slap-stick. 

Now we seem to be getting back in the 
same old mire again. To be sure, the longer 
comedies are rid of it. Lloyd, Keaton, 
Hines, MacLean, and the rest need not re- 
sort to slap-stick methods at any time. But 
— how often do these comedians appear? 
Lloyd, once a year, perhaps less; Keaton, 
about three times a year; Hines, perhaps 
more often than the rest, but even he has 
lost his contract. MacLean I have not seen 
for more than twelve months. 

However, as I have said, it is not in the 
longer productions that we find slap-stick. 
It is in the short two-reel pictures that we 
find the mud-throwing, pie-hurling, pants- 
ripping demons. 

Certainly there was enough mud-throw- 
ing in the recent presidential campaign 
without having to watch it in the movies. 

Just yesterday I saw those two superb 
clowns, Laurel and Hardy, in another of 
their uproariously funny comedies. The 
mere sight of Laurel's dumb face is enough 
to throw one into convulsions. He is so 
ridiculously stupid. Thru the first reel and 
half of the second, the laughs were frequent. 
Then came the dirty work. Mud splattered 
the face of one actor. More mud followed. 

Always it is the same. The first reel or so 
of the comedy is superbly funny, the rest is 
disgustingly slap-stick. One of the funniest 
comedies I have ever seen was " Do Detec- 
tives Think?" featuring Laurel and Hardy. 
It did not resort to slap-stick. Another, the 
name of which, I do not recall, showed 
Laurel in kilts. The situations were old, 
but with Laurel they were extremely funny. 
I^aurel's dumb expressions will make any 
situation ineffably funny — except slap-stick. 

Let's ban slap-stick. Really it is quite 
unnecessary. The children laugh at the 
antics of Lloyd, Keaton, and the rest. These 
actors have proved that slap-stick is un- 
necessary. Laurel and Hardy have shown 
that they do not need it. 

Robert Schreffler. 



Give Him a Hand! 

VISALIA, KV.— It was like old times to 
read an interview with Sessue Hayakawa 
as the subject. Interviews with Ha^'akawa 
used to be so inspiring and instructive. He 
always had something intelligent to say. 

When I was a very young girl, I used to 
ponder and dream over his deep and mystic 
reflections on life. I am sorry he found 
heartache in America and hope he finds rec- 
ompense for it all. 



Come on fans! give this son of flowery old 
Japan a hearty welcome. Since he was 
homesick for America and is dreaming of 
the old davs, let's tell him we still re- 
member. E. G. C. 



They're Like Sheep! 

SCRANTON, PENNA.— Cashing in on 
the public's taste seems to be prime factor 
with movie producers. From my observa- 
tions gleaned in seeing photoplays and read- 
ing newspapers, it came to me that all the 
producers cared for was to cash in on the 
public's taste. If the public liked a certain 
film, then every movie producer starts con- 
cocting films with the very same plot in 
different clothes. Vieing with each other 
they work fast. Result: a badly made pic- 
ture. Why some of the "quickies" are bet- 
ter than some "lavish productions." 

I'd praise the company that tried to be 
original. Really, the public doesn't like to 
get a flock of pictures on one subject, then 
again a different bunch. We want Variety ! 

"Wings" started the rush on airplane 
stories; "Underworld," the crook stories, 
and ad infimtum. If only the producers 
would get wise and get out of the rut. 

A dele Carter. 



Stop, Where You Are! 

Information has been asked by Helen 
Malcech and Annita Arcadia on how to 
enter the movies, and by Betty Wysong on 
how to become a movie critic, in this de- 
partment; for their benefit and that of 
others who may have the same desires, we 
reply that we cannot give any advice other 
than to urge them most strenuously to stay 
at home. ■ Hollywood is at present filled 
with more trained extras than can possibly 
find work. Opportunities for critical movie 
review work are also very few and far 
between, and this work requires much edi- 
torial training. 



Latin Uplift 

CHIHUAHUA, MEXICO:— Always I 
have wished for the opportunity to tell the 
moving picture industry of the good it has 
accomplished in two respects, in Latin 
America, and your department provides the 
open forum. 

I have lived in the Latin country nearly 
all of my life, and I know that the peoples' 
attitude toward us as a nation is that we are 
a race of hard-boiled money grabbers, sans 
all delicacy of perception, sans chivalry, 
sans high ideals, and — can you beat it? — 
sans the power to love passionately! 

But the American movies have changed, 
or at least, modified these absurd notions. 
They see we, too, have our ideas, and that 
they are of the highest order, even if we 
don't wear our hearts on our sleeves for the 
world to gape at. And where could a better 
example of the way to love be found than on 
the screen? 

The other good office the movies do are 
the lessons of kindness and consideration 
to our dumb four-footed friends which they 
always teach. Latins as a whole are utterly 
indifferent to the Wants and sufferings of 
those who cannot plead for themselves, and 
so the influence of the movies in this re- 
spect, is very great. 

So please, Mr. Paramount, for the good 
name of our country abroad, hold the torch 
high! M.A.C. 



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Adoree, Renee — pla\ irg in The Pagan — Metro- 
-Coldwyn-Mayer Studios, Culver City, Cal. 
Alvarado, Don — playmg in The Bridge of San Luis 
Rey — Metro-Goldwyn-Mayer Studios, Culver City, 



Armstrong, Robert — recently completed Leather- 
necks— Palhe Studios. Culver City, Cal. 

Arthur, George K.— recentlv completed All At 
•Seo— Metro-Goldwyn-Mayer Studios, Culver City, 



Paramount Studioi 



I Marathon St., Hollywood, 



Bellamy, Madge — playing in Fugitives — Fox Stu- 



Stahl Studio, 4516 Sunset Blvd., Hollywood, Cal. 



Hollywood, Cal. 

Boles, John— playing in The Desert Song— Warner 
Bros. Studios. 5842 Sunset Blvd., Hollvwood, Cal. 

Bow, Clara — playing in The Wild Party— Para- 
mount Studios, 54Si Marathon St., Hollywood, Cal. 

Boyd, William— plaving in The Flying Fool— 
Pathe Studios, Culver City, Cal. 

Brent, Evelyn — playing in Darkened Rooms — ■ 
Paramount Studios, 5451 Marathon Street, Holly- 
wood, Cal. 

Brian, Mary — playing in The Man I Love — Para- 
mount Studios, 54SI Marathon St., Hollywood, Cal. 

Bronson, Betty— playing in One Stolen Night- 
Warner Bros. Studios. 5842 Sunset Blvd., Holly- 



. Studios, S4SI Marathon St., 



Pickford-Fairbanks Studios, Holfywood, Cal. 

Busch, Mae — playing in Alibi — United Artist 
Studios. 1041 No. Formosa Ave.. Hollvwood, Cal. 

Byron, Walter— plaving in Queen Kelh — Unitp< 
Artists Studios, 1041 No. Formosa Ave.. Hollywood 



">arol. Sue— playing in The Exalted Flapper^ 



Chaney, Lon — playing in Wh( 



Chevalier, Maurice — playing in Innocents of 
Paris — Paramount Studios, 5451 Marathon St., 
Hollywood, Cal. 

"""'■" "'■"■ ' (Buster) — playing in r/ip 



St., Hollyvvood, Cal. 



Blvd., Hollywood, Cal. 

Barrymore, John — recently completed Eternal 
Love — United Artists Studios, 1041 No. Formosa Ave., 
Hollywood, Cal. 



Barthelmess, Richard — recently completed 
Weary River— First National Studios, Burbank, Cal. 

Basquette, Lina — recently completed The Younger 
Generation — Columbia Pictures Corp., 1408 GowerSt., 
Hollywood, Cal. 

Beery, Noah — recently completed The Four 
Feathers — Paramount Studios, 5451 Marathon St., 
Hollywood, Cal. 

Beery, Wallace — ^recently completed Tong War — 



the Place and the GiW— Warner 

Sunset Blvd., Hollywood, Cal. 

Conklin, Chester — playing 



The House of Har- 
rbank, Cal. 
•Irayal — Paramount 



. Studios, 5842 Sunset Blvc 



D 



,amita, Lili— playing in The Bridge of San Luis 
Rey — Metro-Goldwyn-Mayer Studios, Culver 



Goldwyn-Mayer Studios, Culver City, Cal 

Day, Marceline — playing in Murder Will Out 
Fox Studios, 1401 No. Western Ave., Hollywood, Cal 



Denny, Reginald — playin 



in Jiis Lucky Day — 



Paramount Studio: 



I Marathon St., Hollywood, 



Dove, Billie— plaving in The Man and the Moment 
—First National Studios, Burbank, Cal. 

Drew, Roland — playing in Evangeline — United 
Artists Studios, 1041 No. Formosa Ave., HoUywood, 
Cal. 

Duncan, Mary — playing in Tliru Differe 



ii No. Western Ave., Hollywood, Cal. 



/ Pathe Studios, Culve 



mpleted Leathernecks — 



Fairbanks, Douglas, Jr. — playing in Our Moderi 
Maiden — Metro-Goldwvn-Mayer Studios, Culvci 
City, Cal. 

Farrell, Charles— playing in The Lucky Star ~ 



Studios. Burbank, Cal. 

Ferris, Audrey — recentlv completed AH, 
Annie— Warner Bros. Studios, 5842 Sunset I 
Hollywood, Cal. 



/^^aynor, Janet — playing 



The Lucky Star- 



Vj Fox Studios, 1401 No. Western Ave., Holly- 
wood, Cal. 

Garbo, Greta — recentlv completed Wild Orchids 
—Metro-Goldwyn-Mayer Studios, Culver City, Cat. 

Gilbert; John — recenth- completed Deserl Nights 
—Metro-Goldwyn-Mayer Studios, Culver City, Cal. 

Gray, Lawrence — playing in The Sin Sister — Fox 
Studios, 1401 No. Western Ave., Hollywood, Cal. 

Griffith, Corinne — playing in Prisoners — First 
National Studios. Burbank, Cal. 

{Cotitinued on page is) 




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{Contintied from page lo) 



Haines, William— plaving in The C06— Melro- 
Goldwyn-Maver Studios, Culver Citv, Cal. 
Hall, James— recently completed The Canary 
Murder Ca5e— Paramount Studios. 5451 Marathon 
St., Hollywood, Cal. 

Hamilton, Neil— playing in The Woman Who 



Needed Killing— Par. 

Ihon St., Hollywood, Cal. 



, 5451 Mar 



Holt, Jack — playing in Sunset Pass — Paramount 
Studios, S45I Marathon St., Hollywood, Cal. 

Horn, Camilla — recently completed Eternal Love 
— United Artists Studios, 1041 No. Formosa Ave., 
Hollywood, Cal. 

Hyams, Leila — playing in Spite Marriage — 
Metro-Goldwyn-Mayer Studios, Culver City, Cal. 



Jannings, Emil — playing in 'Betrayal — Paramount 
Studios, 5451 Marathon St., Hollywood, Cal. 
Jolson, Al — recently completed The Singing Fool — 
Warner Bros. Studios, 5842 Sunset Blvd., Hollywood. 



Joyce, Alice— playing in The Squall— Firsl Na- 



tional Studios, Burbank, Cal. 



K" 



eaton. Buster — playing in Spite Marriage- 
Metro-Goldwyn-Mayer Studios, Culver Cit; 



Kent, Barbara — recently completed The Shake- 



National Studios, Burbank, Cal. 



Paramount Studio! 



) Gower St., Hollywood, 

Nolan, Mary — recently completed Desert Nights 
-Metro-Goldwyn-Mayer St " - • — - ■ 
, Barry — playing 



—Paramount Studio; 



r City, Cal. 
in The Command to Love 
Marathon St., Holly- 



, Ramon — plaving in The Pagan — 

o-Goldwyn-Mayer Studios, Culver City, Cal. 



Brien, George — playing in .-1 Son of Anak — Fox 
_ Studios. 1401 No. Western Ave., Hollywood, Cal. 
O'Neil, Sally — playing in Broadway Fever— 
Tiffany-Stahl Prod., 45 16 Sunset Blvd., Hollywood, 
Cal. 

•ude — recently completed The 



o 



Take, Arthur — playing in Campus Kisses — Uni- 
1^ versal Studios, Universal City, Cal. 

La Plante, Laura — playing in The Haunted Lady 
—Universal Studios, Universal City, Cal. 

LaRocque, Rod — playing in Our Modern Maiden 
—Metro-Goldwyn-Mayer Studios, Culver City, Cal. 

Loff, Jeanette — recently completed Annapolis — 
Pathe Studios, Culver City, Cal. 

Logan, Jacqueline — recently completed The Faker 
—Columbia Pictures Corp., 1408 Gower St., Holly- 
wood, Cal. 

Lombard, Carol — playing in High Voltage — 



Reckoning — Universal Studios, Universal City, Cal. 

Love, Bessie — plaving in White Collars — Metro- 
Goldwyn-Mayer Studios, Culver City, Cal. 

Lowe, Edmund — playing in Thru Different Eyes 
— Fox Studios, 1401 No. Western Ave., Hollywood, 
Cal. 

Loy, Myrna — playing in The Squall — First Na- 



HoUywood, Cal. 

MacDonald, Farrell — playing in A Son of Anak — 
Fox Studios, 1401 No. Western Ave., Holly- 
wood, Cal. 

Mackaill, Dorothy — playing in Children of the 
Ritz— First National Studios, Burbank, Cal. 

Maynard, Ken — playing in The Royal Rider — 
First National Studios, Burbank, Cal. 

McAvoy, May — playing in No Defense — Warner 
- - - ' -^ ■ "Ivd., Hollywood, Cal. 



P^I^' 



Philbin, Mary- re 



1 40 1 No. Western .- 



n St., Hollywood, 

Prevost, Marie — recently completed Sideshow — 
Columbia Pictures Corp., 1408 Gower St., Holly- 
wood, Cal. 

Pringle, Aile«n — recently completed Dream of 
Lose- Metro-Goldwyn-Mayer Studios, Culver City, 



'\uillan, Eddie — playing in Listen, Baby — Pathe 
/ Studios, Culver City, Cal. 



Revier, Dorothy — playing in Scarehead — Fox Stu- 
dios, 1401 No. Western .A.ve., Hollywood, Cal. 

Rogers, Charles (Buddy) — playing in Close Har- 
T, O...J:-- Marathon St., 



'childkraut, Joseph— playing in .4 Bargain in the 
J Kremlin— Universal Studios, Universal City, Cal. 
Sebastian, Dorothy — recently completed^ The 



Shearer, Norma — playing in The Trial cf Mary 
Dugan — Metro-Goldwyn-Mayer Studios, Culver 
City, Cal. 

Sills, Milton— playing in Dark Streets— First 
National Studios, Burbank. Cal. 

Stone, Lewis — playing in The Trial of Mary Dugan 
— Metro-Goldwyn-Maver Studios, Culver City. Cal. 

Stuart, Nick— playing in Joy Street— Fox Studios, 
1401 No. Western Ave., Hollywood, Cal. 



ently completed The 



J. Woman Dispttled-Vnited Artists Studios, 1041 
No. Formosa Ave., Hollywood, Cal 
Taylor, Estelle — playing ii "' 



—Warner Bros. Studios, 5842 Sunset Blvd., Holly- 
wood. Cal. 

Menjou, Adolphe — playing in Marquis Preferred 
— Paramount Studios. 5451 Marathon St., Holly- 
wood, Cal. 

Mix, Tom— plaving in The Dude Ranch— FBO 
Studios, 780 Gower St.. Hollywood, Cal. 

Moore, Colleen — recently completed Why Be 
Good— First National Studios. Burbank, Cal. 

Moore, Owen — recently completed Stolen Love — 
FBO Studios, 780 Gower St., Hollywood. Cal. 

Moran, Lois — playing in Joy Street — Fox Studios. 
1401 No. Western Ave., Hollywood, Cal. 

Morton, Charles — recently completed New 
Year's Eve — Fox Studios, 1401 No. Western Ave., 
Hollywood, Cal. 

Mulhall, Jack— playing in Children of the Riti 



United Artists Studios, 1041 No. Formosa Ave.. 
Hollywood. Cal. 

Torres, Raquel — playing In The Bridge ofSanLuis 
iJfi'- Metro-Goldwyn-Mayer Studios. Culver City. 
Cal. 

Tryon, Glenn — recentlv completed Broadway — 
Universal Studios, Universal City, Cal. 

Twelvetrees, Helen— playing In Nobody's Chil- 



Valli, Virginia— recently completed Street of Illu- 
sion — Columbia Pictures Corp., 1408 Gower St. 
Hollywood. Cal. 

Vaughn, Alberta — playing in Noisy Neighbors — 
Pathe Studios. Culver City. Cal. 

Velez, Lupe — plaving In Where East Is East — 
Metro-GoldwTn-Maver Studios, Culver City. Cal. 
Vidor, Florence — recently completed Tong War — 
■ Studios. 5451 Marathon St., Hollywood, 



First National Studio 


s, Burban 


k, Cal. 


Cal. 




Murray, James— r 


ecently cr 


mpleted The Shakc- 






dowK— Universal Stud 






Wilson, Lois— play 


Ing in Broadway 
. Burbank, Cal 
ne in ObjcUAli 



N1 



—FBO Studios, 780 Gower St., Hollywood, Cal. 



bia PIctur .--,-,-- --. --. . 

Windsor, Claire— playing in Lije- Tiffany-Stahl 
Studio. 4Si6 Sunset Blvd.. Hollywood. Cal. 

Wray, Fay — plaving in Black Eagles — Paramount 
Studios, 5451 Marathon St., Hollywood, Cal. 




TAm 

Findthekey to unlock 



3 CLUES 



THERE are 19 keys pictured 
here. To be sure, they all 
look alike, but, examine them 
closely. 1 8 of them are exactly alike 
but •'ONE,»» and only one is DIF- 
FERENT FROM ALL THE 
OTHERS. It is the key to 
OPEN THE PADLOCK on this 
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SEE IF YOU CAN FIND IT. 

The difference may be in the size, the shape, or even 
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is different from all the others SEND THE NUMBER OF IT TO ME AT 
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BE GIVEN FREE— totaUng $7,300.00 cash. 

■» Or Win a CHRYSLER "7S" Sedan ^ 

Choice of tnis beautiful Chrysler "75" Royal Sedan or $3,000.00 cash. We pay all the freight 
and tax in full on all the prizes and deliver them anywhere in the U. S. A. This is an AMAZ- 
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of cost to me." 



You Cannot Lose 



£• COLLINS, 537 South Dearborn St» 

Dcpt.639 CHICAGO* ILL. 




The Man She Dreams Of 




vife. 



vill love in her — the glo 
lealth. A rosebud complexion; a clear 
;ady nerves — these are the things a 
nts in the woman he chooses for his 



If girls but realized this they would take 
that splendid herbal tonic and nervine Dr. 
Pierce's Favorite Prescription. 

Dr. Pierce invites you to write to his clinic in 
Buffalo, N. Y. for free advice. 



GIVEN TO GIRIS 




EXTRA 

LANCASTER COUNTY SEED CO. 



life^Seciets! 

r^^H^F Send No Money 
^^F arrival. p'^^'Jf^^f^^^g^LisBll'NO Co!°'°'^' 
^^ Dept. 6608. SOON. Clark St.,Chicago, III. 



BEAUTY 

depends om thorough but gentle 
feldn cleansing. The safe soap to use is 

Resinol 



THIS UXH CAN READ 

wt/^ uiHD/ ^r:-\ 



?J[^.°Jii'i?A^"£f£'"T^pr;l'!^"5,^'t';2^L^ ys^,^ ^-^^ 








YORK CITY, N.Y 




BUYING estates in Hollywood is as easy 
as building castles in Spain. Colleen 
Moore and John McCormick are the latest 
homesteaders out there. They have pur- 
chased an uncompleted Spanish residence 
which will be fitted up with all sorts of 
necessities such as a miniature wired thea- 
ter, a swimming pool, tennis courts, Turkish 
baths, barbecue pits, and lovely formal and 
informal gardens. 

'"T^HE Gold Rush" started a rush in the 

X direction of the very young and very 

comely Georgia Hale, comes a rumor 



the 



hills and far away. 
And the Hollywood 
rumor suggests 
that a new Mrs. 
Charles Chaplin 
is about to dine at 
the Montmarte. 



HARK! hark! 
the dogs do 
bark — that is, 
Rin-Tin-Tin does 
now that sound 
pictures have in- 
vaded his happy 
kennels. He will be 
heard as weU as 
seen in his pictures 
hereafter. 



SHAKING just 
naturally got 
to be a habit with 
Gilda Gray. Now 
she has forsaken 
the name of Mrs. 
Gil Boag and has 
brand-new divorce 
papers to prove it. 




EVERY once in a while someone cele- 
brates a birthday. Carl Laemmle out 
at Beverly Hills, saw ole man Time mark 
sixty-three down opposite his name. 

PARIS may advance the styles, but Greta 
Garbo sets the pace in saleuries according 
to French news reports. The fair Greta de- 
manded one thousand a day to show 
Parisiennes how love is loved on the screen. 



Gibson and Hoot 
Gibson have 
reached a parting 
of the state high- 
ways and have de- 
toured via the di- 
vorce court. 



P. S' A. 
A cameraman's favorite photograph: of all 
the scenes the lens has ever seen, Peverel 
Marley likes this one of his leaving the 
church in Beverly Hills with his bride, Lina 
Basquette 



and then she went 
in — that's the story 
of Joan, the young- 
est of Richard 
Bennett's Daugh- 
ters. Little Miss 
Joan had previously 
spent several sea- 
sons trying to crash 
the door of Oppor- 
tunity out in 
Hollywood studios, 
before being offered 
the leading femi- 
nine role opposite 
Ronald Colman in 
"Bull Dog Drum- 
mond." 



JUANITA HANSON is reversing the gen- 
eral order of things by leaving New York 
for the West. Hollywood is due to hear Miss 
Hanson in talking pictures since she has re- 
covered from the accident which kept her 
East so long. 



WILLIAM POWELL, after a too brief 
stay in New York, set off for what 
appears to be the Grand Tour, visiting Palm 
Beach, Havana, Mexico City, Vera Cruz 
and then Hollywood to begin work on 
"Darkened Rooms." 



IT'S modern he would be, this John Barry- 
more who returns from the romantic 
South Seas honeymoon with Dolores Cos- 
tello, to start work in the sound film version 
of "General Crack," an English best seller. 



and matinee 
to-morrow, with 
two of the world's most famous pairs of 
honeymooners. Richard Barthelmess and 
his bride and Florence Vidor and Jascha 
Heifetz are finding New York a happy 
stamping ground for renewed friendships. 



1UPE VELEZ has a voice. Lupe sings 
-/ songs. Lupe sings Spanish songs. 
Lupe sings several Spanish songs in "Wolf 
Song" in which she is featured with Gary 
Cooper and Louis Wolheim. 



THE Great Big Hat with the Great Big 
Brim will once again seek the limelight 
when Tom Mix sails for Europe after a tour 
of this country making personal appear- 
ances at picture theaters. 




Z;^ GLEN M 

C(D ^^"^ 

I tel. for refunJ if 



CpersonaL 

Q,dt 



Uainty — ijecure — JLajustahle — In i^olorsl 



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freedom heretofore unknown. "Wide enough for security, yet 



.illr 



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Beltx is designed to he worn low on the hips, fitting just snug 

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Instantly adjustable to hip measurement in the belt line, from 

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In colors — 1< 



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A splendid 



tch 
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bridge 



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I am interested in securing 
dealers /.r a feu, more cities. 
,, Write for particular 



BELTX personal tehs for which I enclose $. - It is understooJ tLit I maj 

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Check Colors Desired D Orchid Q Peach D Flesh 



"1 
,:-J 



LEPT OVERS 



^ ^LTER Ramsey 



Hollywood 
¥ightandDav 



Thoughts while strolling: I wonder how Gloria Swanson likes and tin ear. A year or so ago he was the proud owner of a pros- 
Marion Davies now?— after seeing "Show People." Lili Damita — perous restaurant bearing his name. Being famous as a former 
midnight and alone in the Gotham having a sandwich and beer; lightweight boxer brought the crowds to his door. It seems to have 
has she learned her lesson for tomorrow's English class? They say made no difference that his ability had died a decade before. The 
Ben Lyon is that way_ about Bebe Daniels — but don't let on. fact that he failed could never be laid to any lack of enthusiasm on 
Joseph Schildkraut looking in the mirror. Lupe Velez and Gary the part of fame-admiring Hollywood. Now he's a dentist. 
Cooper in Henry's at three — Lupe, a living and breezing example » * * 

of a baby just past the teething age — and proud of the fact — Some of the old boys even try the movies. Jim Jeffries has 

gazing into Gary's physiog — the deadest pan in all Hollyville. Say, appeared in quite a number of pictures. The last I saw his name 

who buys all the dresses in the Stylish Stout Shoppe? — since Lina at the bottom of the cast, I was surprised to hear more comment 

Basquette became so sylph-like. And speaking of pencil shapes — around me concerning Jim than was to be heard about one of the 



e of the newer sharpened ladie 
is Mary Ford, the Madonna Lady. 
Charlie Chaplin and Joe Schenck 
winning a dancing contest to- 
gether. Since Hooverism has been 
assured, a wave of economy has 
hit Hollywood — they now use two- 
faced women to sing the duets in 
talkies. Nick Stuart leaving the 
Athletic Club — who does he know 
that's so rich? It's getting to the 
point now that you can dial the 
set and not get "Sonny Boy" — 
which, if you ask me, is mighty 
decent after four months of it. 
After all this time I've at last 
found out what actress did not 
spend twenty thousand simoleons 
on Yuletide gifties. Red Conroy, 
he of the grabby element, a young 
fellow from Manhattan, Kansas, 
who is making good in the city. 
I've changed favorites again — 
Eddie Lowe has the seat of honor 
this time — and my chameleon 
taste breaks the heart of Rin-Tin- 
Tin. Hollywood is getting more 
and more Hollywood as time goes 
on — meeting called to order in the 
public library. Sue Carol has a 
fan in a Middle-Western home for 
the mentally detained — guess I'll 
go nuts and have her for my lucid 
interval. 




There seems to be a growing 
tendency in Hollywood to have 
famous milkmen — and barbers — 
and waiters and whatnots. Not only does this town cater to names 
in their embryonic stages, but it allows names of the more advanced 
type to cater to it. We, as you might say, patronize personages. 
"Used to be ain't is," is a phrase that could never be found in our 
dictionary of apt terms. I mean: if you're a world-famous violinist 
with neuritis — just open up a bootblack stand out here. There will 
be plenty shoes to shine. * * * 

Down on Vine Street, between the Boulevards, is an unpre- 
tentious little shack. In front of the place is a huge sign: Jess 
Willard — Real Estate. Just why his name is a bigger attraction in 
our town than it would be in Oshkosh is a guessing game. The 
fact remains that Jess makes lots of deals and money while the 
university-trained experts are starving in the same business. 

It's quite a coincidence that the greater number of these former 
headliners were in the hit-and-run racket. Take our hero: Jack the 
Demps. He's running a large hotel on Seventh Street, and the re- 
ports have it a gold mine. I don't suppose that over half the g'uests, 
who make it their regular home, would linger a minute if Jack 
didn't own the place. And there's Leach Cross, he of the flat nose 

16 



If young Mr. Lee gets any more popular than "The Sing- 
ing Fool" made him, clothiers will be describing suits like 
the one he has on as Davy blue 



greatest lovers of the screen whose 
name headed the list. Jack Demp- 
sey, too, has cleaned up a few iron 
men with the grease paint. And 
right here we may as well mention 
Ruth Elder. She flew once or 
twice — and she'll probably make 
pictures 'til everything freezes 
over. if if If 

Welker Cochrane was the 

world's champion billiard player, 
now he's an affluent broker. The 
fact that Bud Houser was the best 
shot-putter in the last Olympic 
Games, stamps him as an ex- 
traordinary bicuspid jerker in this, 
the city of rampant guUibleness. 
And his classmate, Keith Lloyd, 
one of the greatest runners the 
Pacific slopes have ever seen — 
runs a gas station now. He sells 
more gasoline than anyone on the 
Boulevard. Keith Lloyd on a sign 
means more to Hollywood than 
Stan. Oil. ^ ^ 

Let the chips fall: Molly 
O'Day hasn't really got much 
thinner. A certain corner in the 
Montmartre seems to have been 
unconsciously reserved for women 
over forty. No, I won't tell you 
who told me. I still can't get the 
hang of that Lottie Pickford hold- 
up, etc. What handsome male 
star do you suppose it was who 
fell, temporarily, for the very 



light leading lady of an all-colored 

New mode of greeting, to a star of the once quiet drama: 
"Hello — cheerio and other expressions of how-de-do. How does 
your voice register, you liar?" 

The other day a famous producer entered the Montmartre with 
a toothpick in his mouth. Being the only time we ever saw anyone 
come into a restaurant equipped thus. 

Tips for visiting delegates : Biltmore supper-room for lorgnettes. 
Lower Cahuenga Street for the pawn-shops. The Lincoln Theater 
for the dark version of white plays. Cocoanut Grove for spotlights. 
Little Church of the Flowers for weddings — and funerals. The 
Cotton Club for a hilarious evening — or what can you make of it? 
Coffee Dan's for noise and impromptu entertainment. Dave Ep- 
stein's office for the reeking odor of stale bay-rum. Beverly Hills 
for swank on the instalment plan. The Boulevard for "that differ- 
ence." Lessons in radio-announcing at Al Rogell's. Agua Caliente 
for that tired feeling. Oh, yeah? 



ww^ 



'%Si^. 



W^?' 



^^ 



ql.e]bieeofWMMPmmm^ 

bpin0s /^you me living pulse-beat g^Paris- 




^ If there is not a the- 

equipped as yet to 
show 'The Redeem- 
ing Sin" as a Talk- 
ing Picture, see 
as a Silent Pictui 
Either 
tchh 



tainment. 



icture. 

fnr:r-\ 

t. ^ 



Vitaphone does it again! Brings to 
you adorable Dolores Costello— in 
the crowning achievement of her 
career — "The Redeeming Sin." 

A swift unforgettable drama that 
wells up out of the haunts of the 
Parisian underworld — with Love at 
last emerging — redeemed — 'tri- 
umphant — in the flowery fields 
of France. 



Through Vitaphone, you see and 
hear with the thrilled senses of a 
spectator in the Montmartre. Here 
is science with voice — action — 
heart-throb! 

See and hear Warner Bros. Vitaphone 
Talking Picture — "I'he Redeeming 
Sin." And remember — you can hear 
the real Vitaphone ONLY in Warner 
Bros, and First National Pictures. 




ybu SeeandHearVITAPH€W£ only in WamerBros. and First National Pictures 



PoncFs Cold Cream for fhorovigh cleans- 

I ing is the first step in Pond's Method. 

Spread lavishly with upward strokes, 

letting the fine oils sink into the pores. 

■Pond's Cleansing Tissues remove the 
Q, cold cream. Such an economy of laun- 
dry and towels ! Thistledown soft, safe 
for sensitive skin — Pond's second step. 

Pond's Skin Freshener should always 

3 follow your cold cream cleansing. It 
closes pores; banishes oiliness; firms 
your skin, leaves it fresh as a rose. 

Pond's Vanishing Cream is the finishing 

4 touch of Pond's Method. Apply before 
you powder. It protects your skin, gives 
smoothness, makes your powder cling. 



(Among ihc Uuhfj ,.o,nen 
^o u.c ^o.Js producls are: 

^L (Souniess 9(ou-c 

Q%s. Gornelu.s Q'andeMlt, ffr. 

Qllrs.e^dcnGf.mnunonJ 

c£a Qhardulsc cL C^oli^nac 

oLaai; cLavery 



J^^xryicuS 



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OWIFT, CLEAN-CUT, runs the modern 
rhythm. Young, clean of line is the mod- 
ern silhouette. Alert and beautiful are 
modern faces — eyes bright with zest of 
life, clear skin kept firm and young with 
modern care. 

Pond's famous Method is the open 
secret of the meticulous grooming of skin 
that modern life exacts yet must achieve 
upon the wing. 

No time? No matter! 

Pond's four simple steps are swift, yet 
scientific in the precision of their effect. 

18 



Pond's 4 delicious aids to beauty are 
the utmost modern science can offer in 
exquisite fineness, in amazing efficacy. 

Jr OLLOW PoND's Method: Onel Cleanse 
thoroughly with Pond's Cold Cream . . . 
Twol Wipe away cream and dirt with 
Pond's new Cleansing Tissues . . . Three! 
Close pores, tone, firm the skin with 
Pond's new Freshener, banishing oiliness 
. . . Four! Smooth on a little Pond's Van- 
ishing Cream f ^r powder base and pro- 
tection. Now you are fresh and lovely! 



Give your skin this complete care as 
often as you need it through the day. At 
bedtime thoroughly cleanse with Cold 
Cream and remove with Tissues. 
Try this simple, swift, sure Method. 

cfenJ lO^ for Sond s 4 prepavaUons 



Pond's Extract Company 




When Edna Murphy played in "The Greyhound Limited" with Monte 

Blue, she must, in her manner of impersonation, have been very much on the 

right track, for immediately thereafter the studio took steps to monopolize 

her abilities by proffering a long-term contract 




Another bobbed -haired bandit? Well, she does have a way of making 

the boys surrender and hand over their hearts. But when a girl has 

eyes like Sue Carol's, she needs no gun. You'll see her soon, with 

Nick Stuart, in "Girls Gone Wild" 



i> 



i 



x 



Squaring the circle is an easy problem as compared to the difficulties 

Edmund Lowe encounters in "In Old Arizona." He can't play an army 

sergeant convmcingly and use a Sunday-school superintendent vocabulary. 

And yet the picture's an all-talkie 



^ 



^ 




1^ 



It has been pointed 
out time and again 
that Gilbert Roland 
bears, in many of his 
portraits, a singular 
resemblance to John 
Gilbert. But here the 
situation is reversed, 
for John looks aston- 
ishingly like Gilbert 
in this, his character- 
ization in "Thirst" 



Grandpa may be for- 
given for harking back 
to the good old days, if ^ 
the girls of the '80's 
were half as charming 
as Fay Wray here repre- 
sents one of them to be. 
The occasion for her 
costume is her part in 
"The Four Feathers" 





They must call him Hoot Gibson because he's such a wise owl. For when 
westerns began to fade, he simply turned to a newer-fangled form of adven- 
ture story — airplane stuff. He's the man higher up in "Birds of a Feather" 




Something unusua/jn beauty, indeed : a strawberry brunette. She is Virginia 

Bradford, and he/ performances in "Two Lovers" and "Craig's Wife" have 

won her an opprtfrtunity of greater scope in "Marked Money," wherein she 

IS Entrusted with playing the leading feminine role 



Lansing Brown 




MONriEUll^ LUCIEN > LELONG 



'^iternati^Jidk/'""-'"^/^'"'" f 



:i'ea^i:or 



THE lEtGlfM IPARr!>t' ^ ^ ^ t ^^5 




\.- .-■■■• 



Now Lelong puts into watches that 
same chic you find in a frock that 
bears his noted lahel. The same flair 
for style, the same air of worldly 
charm. And the vast efficient ELGIN 
factory makes a stylist's dream a 
reality to gleam upon your wrist. 

And such versatile watches, these 
Lelong models. Harmoniously in 
the picture whether the golf course 
or the tea table is your background. 
Then, too . . . it's so simple to have 
extra ribbons to match the colors of 
your cv-ninjr gowris and your Pari- 
..icnne walch will give a true 




EICIN WATCHES ARE AMERICAN MADE 
'•ATCHES SHOWN ^ ACTUAL SIZE 



^'1, 



pian flair to your formal hours. 
fee are plain, three are inlaid 
(rh lustrous hard enamel. And all 
brilliantly smart. Ask any 
welier to show you his sparkling 
pFay of ELGIN Parisiennes. And not 
only Lucien Lelong, but Agnes, 
Ijenny, Premet, and a group of 
' equally prominent leaders of the 
Paris Grand Couture are repre- 
sented. 

A Parisienne costs but .S35, there is 

Jio <luty on designs. Style genius pays 

► fees at the customs house. Pans 

IlIc ... at a truly American price! 



26 



"«n ^« i32g 

■^-^-^ -:^ T H K SCR K K N MA G A /, 1 X l- () K A l' T H O R I T Y <-<-.^-<i- 




MAJOR CU:ORGK K. SHIIFR 



LAURENCE REID 

Majiti'ii)!^ Edilor 



DTxNrAN A. D()]5IK, JR. 
General Manager 



e 



am era: 



I 



Grey, 
Joyce 



B"\' the way, did you ever hear of Marion 
Aye: No: Then how about Margaret 
Leahy: You're not sure: Well, let's see: 
surely you recall Kathleen Key and 
Derelvs Perdue and Ethel Shannon; Gloria 
Hazel Keener, \ iolet Avon and Natalie 
and Joan Meredyth and Joyce Compton and 
Rita Carewe and Tris Stuart and Flora Bramley. 
Some of them vaguely, you say? Or aren't you 
quite certain: Well — let it go. No use worrying 
about it. No use making out of it one of those 
maddening things like wondering, four days out on 
vour vacation, whether or not you remembered to 
turn out the bathroom light. We merely asked the 
questions out of curiosity. 



The 



% a Reason 



YOU mustn't think from this, however, that 
the inquiry was made quite wantonly. It 
wasn't intended to be in the same category as, 
"Do you know the Smiths in Chicago — well, neither 
do we, so we both have something in common." We 
asked, because all of the names mentioned are those 
of Wampas Baby Stars, chosen at random from the 
list of nominations since the inauguration of the 
custom of picking Baby Stars every year, in 1922. 
Some are the names of girls in that year, others are 
in between; and one, as obscure as even the earliest, 
is from last year's roll of honor. 

The occasion which suggested a selection of a few 
of the names of girls once so favored and now so for- 
gotten by the moviegoing public at large is the recent 
publication of the nominees for this year, for 1929. 
The lucky thirteen have just been elected. 

How many will survive of this number? And who 
will they be? 

The Surviving Fraction 

T^HE Hrst question one may guess at answering 
-'- by using insurance company methods, by 



looking over the entire roster of selections since 
1922, counting the names still prominent and com- 
puting what fraction of the entire number is likely to 
make good the promise of the present. 

Not counting the recent lists, there have been 
made up, since 1922, seven lists of thirteen names 
each. A total, if we can believe our mathematics, 
of ninet)"-one. And of those there are now about 
thirty-three still acting. Of these names the follow- 
ing still are well knov\^n: Jacqueline Logan, Bessie 
Love, Colleen Moore, Mary Philbin, Eleanor Board- 
man, Evelyn Brent, Laura LaPlante, Esther Ralston, 
Clara Bow, Dorothy Mackaill, Marian Nixon, Alberta 
Vaughn, Olive Borden, Dorothy Revier, Mary Astor, 
Mary Brian, Dolores and Helene Costello, Joan 
Crawford, Marceline Day, Dolores Del Rio, Janet 
Gaynor, Sally O'Neill, Vera Reynolds, Fay Wray, 
Barbara Kent and Gladys McConnell. 

Thirty-three in all. Thirty-three out of ninety- 
one. About one out of three. 

Lean Years and Fat 

SOME years were leaner in the fulfilment of prom- 
ise than others. Eleven out of the thirteen chosen 
in 1926 made good and still are making good. But 
of 1925 there are only two still going. And they not 
among the strongest. 

But one out of three is a rough average. 

Here are this year's selections: Anita Page, 
Josephine Dunn, Jean Arthur, Doris Hill, Loretta 
Young, Doris Dawson, Helen Foster, Caryl Lincoln, 
Helen Twelvetrees, Betty Boyd, Sally Blane, Ethlyn 
Clair and Mona Rica. 

Who among these will still be stars next year — 
and the year after — and the year after that? Three 
of them; maybe four. But which three or four? 
Well, we'll make a guess at the most likely four 
among the thirteen: 

Anita Page, Loretta Young, Helen Twelvetrees 
and Sallv Blane. 



By 
RUTH BIERY 




Starring 

The Priestess Is Going 
Will She Some Day 




4_ 

^W /^^^ COURSE if Aimee Semple 

^pr^ I I McPherson were really an ac- 

Mauray \^ M trcss, I would bc Writing her 

love-life. Of that I am certain 

since I have interviewed her. But since she is a minister 

and about to become a motion picture producer — well, 

who ever heard of writing the love-life of a minister or a 

producer? 

Not just a plain, every-day producer, either, but one 
who will rank side by side with Commander Richard E. 
Byrd if her after-the-first-of-the-year plans carry. Com- 
mander Byrd has gone to the South Pole, that bleak, unin- 
habited, world's-end circle, to make the strangest motion 
picture ever contemplated. Aimee Semple McPherson will 
stay right at home on her great stage-pulpit to do her pic- 

28 



Aimee Semple McPherson Says: 

God is my Director 

The Bible says, "Go into all countries"; the 

talkies can help us carry out the command 

of our Master 

We have so much real drama in hfe, without 

inventing it 

I do not plan to tie up with any producer 

I have not been in a theater for more than 

ten years 

It is tacitly understood that my members 

do not attend pictures. They are too busy 

right here 

Movie people are the most 

generous on earth 




ture pioneering. Only^ 
she will portray ser- 
mons, which will be 
done as talkies, to carry 
the messages of Mat- 
thew and Mark and Peter and 
Paul to the peoples of all countries. 
You know her Temple is already something of a motion 
picture studio. There's the big stage — or pulpit, I suppose 
I should call it — where she is accustomed to dramatize her 
sermons for her larger-than-the-average theater audiences. 
The installation of motion picture equipment will not 
necessitate any great change in her settings. I suggested 
this to her. "You already have a regular studio, Mrs. 
McPherson. This new undertaking won't require any 
great change." 

AN ADVANTAGE IN DIRECTORS 

SHE hesitated a moment and then said, "Y — es, I sup- 
pose I have. Only, of course, God is my Director." 
Which should certainly give her the edge on the other 
motion picture producers — but I am getting ahead of my- 
self in this story. I want you to visit Aimee with me, just 
as I visited her; go with me from the first step I took to get 
this interview until the last bow she made as, with relief, 
she opened the door with her own hands to precipitate my 
exit. For seeing Aimee Semple McPherson is something 
like seeing a prince or a king or a maharaja or someone 
who doesn't give a darn about all the motion picture 
publicity of all the studios added together. 

First we will go to the Temple, that mammoth, semi- 
circular building which edges Echo Park on Glendale 



Jiimee (^einpleMUJVl^ iberson 



In For Talkies; 
Tell Her Love-Life? 



Boulevard, Los Angeles. Being a church, we enter the 
front door in an obsequious, nay, worshipful mannei 
and ask in the simplicity of our faith to see the woman w 
has on faith erected this imposing plant in the heart of one 
of our busiest city-sections. 

Now, of course, being a writer, we are accustomed to hav- 
ing the studio doors open at once without even the formaliry 
of knocking. But not the doors of Ainiee's A.ngelu 
Temple. That is, not the inner doors which secrt-te Aimee 
Semple McPherson. There is a switchboard and a portly, 
get-by-me-if-you-dare type of woman who tells us that no 
one is at home, not even the publicity director. Oh, yes, 
today big churches are as well equipped as motion picture 
studios, although we doubt if this man has O.K.'d all the 
publicity printed about Aimee. 

When we find that we cannot get to first base in this man- 
ner, we turn away, not insulted, but a bit baflfled and with 
all of our newspaper instincts raring to overcome the ob- 
stacles which religion has imposed upon us. 

AN APPOINTMENT WITH A PRIESTESS 

OUR secretary is the next resource of our thwarted 
ambition. 

"Get Miss McPherson's secretary and her publicity 
director and make an appointment for us tomorrow. Go 
to any lengths necessary, but get the appointment," we 
tell her. 

Secretaries. The next time I see Aimee — and V 
probably see her at her command rather than my de- 
mand when this story is printed — I'm going to ask her 
to bless my secretar\' for me. I don't know how she did 
it. I didn't listen, but she tells me she used all the 
secretaries of the Temple to arrange it. All I know is 
that in thirty minutes she had us all dated up for 
twelve-thirty on the day appointed. 

Which, with a picture actress, would have been all there 
was to it — but not with producer Aimee. 

And when Aimee will have finished blessing Miss Haynes 
— the secretary deserves her name in this story — I am 
going to ask her to offer a prayer for the withered old man 
who sells ice cream cones on her Temple corner. For, of 
course, the watch-dog switchboard operator told us that 
Sister McPherson — or did she say Mrs..^ — was at lunch 
and couldn't be disturbed no matter how many appoint- 
ments were listed. But the ice cream man — well, he point- 
ed out an alley and said there was a little door somewhere 
in the wall down there which might lead us to Aimee. 

THE ALLEY TO AIMEE 

THERE was a doorbell and the savory smells of good 
food at this sanctum-sanctorum entrance. A colored 
maid asked our name and then padded away to make cer- 
tain that we were not burglars or heathens or whatever it 
is that are never admitted. We had expected a barren 
{Continued on page g6) 





R. H. Louise 

A Trying 



Experience 



But a thrilling one, Joan Craw- 
ford finds the matter of deter- 
mining which is the best of the 
hats she's considering wearing 
on Easter to church, provided 
young Doug wears his new 
topper 




just One Big Family 

W ho's Whose Relative In Hollywood; 
And If So, How Often? 



AS a word of casual advice By WALTER RAMSEY 

/_% to young screen aspirants 

/ % I would recommend relationship — blood, pref- 
erably — to any one of the large and flourishing 
families of Hollywood. For instance, if one could arrange 
to be the only child of Norma Shearer and Irving Thalberg 
one would be but a couple of steps removed from stardom. 
Even giving birth to Joseph Schenck — if it weren't a bit 
too late — would help. Failing in this, I would advise 
sticking to the traveling salesman busmess, the plumbing 
racket, coats and suits or what-do-you-peddle.'^ 

For the movies are just one big family. 

Everybody's related to everybody else, including Uncle 
Carl Laemmle. 

Sometimes it's by birth. 

Sometimes, marriage. 

Sometimes, accident. 

Sometimes a mere rumor — but counting in everything 
including in-laws, ex-laws, divorces, former marriages, 
engagements and business partnerships, I feel it is no 
exaggeration to sa}- that practically everyone in the movies 
has some connection, no matter how remote, with prac- 
tically everybody else. 



and a child of that union was Doug, 

Jr., who is probably married, by 

this time, to Joan Crawford. All of which makes Doug 

Fairbanks, Sr., the father-in-law of Joan and still the 

husband of Mary. 



RELATIVELY CLEAR 



MARY was formerly the wife of Owen Moore, who is 
now married to Kathryn Perry, ex-Follies girl, who 
used to work in the Ziegfeld shows with Marilyn Miller, 
divorced wife of Jack Pickford, Mary's brother. Follow- 
ing the divorce, Marilyn was reported engaged to Ben 
Lyon, who is now rumored engaged to Bebe Daniels, 
Jack Pickford's ex-fiancee. Is that clear.? I thought not. 

Both Jack and Mary are related, quite closely, one might 
say, to Lottie Pickford — having had the same mother and 
father. Lottie was formerly married to Allan Forrest 
whose former wife was Ann Little. (Wonder what rela- 
tion that makes Ann to Doug, Jr..'') Anyway, Lottie is 
now reported engaged to Jack Daugherty, who is the 
former husband of the late Barbara La Marr and Virginia 
Brown Faire — at different times, of course. Virginia 
Brown Faire is now engaged to Duke Worne, who was 
Starting with Mary Pickford and Douglas Fairbanks, formerly engaged to Edna Murphy, the little blonde 



the F. F.[ofH. (First Family 
of Holly^vood) and working 
backward and forward, we 
find that Mary is the wife 
of Doug. However, before 
this was accomplished, Doug 
was married to Beth Sully, 



If Einstein would seek the greatest place in the world for the study 
of relativity, he should go to Hollywood. Above is a group well 
worth his interest. It comprises, from left to right and in the top 
row: Douglas Fairbanks, Mary Pickford, Douglas Fairbanks, Jr., 
Kathryn Perry, Owen Moore, Jack Pickford. And in the same 
order in the lower row: Ben Lyon, Joan Crawford, Bebe Daniels, 
Lottie Pickford and Marilyn Miller 



_al now married to Mervyn 
Le Roy, who was formerly 
engaged to Duane Thomp- 
son, now married to Buddy 
Wattles. And he used to 
take Edna Murphy out. 
{Continued on page iij) 

31 




easant 



Tt 



reams 



And coming true, in this instance, for 
Vilma Banky. In her next film she 
appears in the guise of an immigrant 
girl destined not long after landing to 
change it for the uniform of ' 'Childs, 
Fifth Avenue" 



This 

Heartbreak \ ^ 

Business 

The Case of Eva von 
Berne Is A Sad But 
Not A Solitary Instance 
Of Useless Cruelty 

Bv HERBERT CRUIKSHANK 



EVA VOX PLENTZNER has gone home. 
With her is a souvenir of Hollywood. It is 
a broken heart. Just where home may be 
for Eva, nobody knows; and to com- 
plete the song title, nobody seems to care. As 
Eva von Berne, sensational cinema discovery 
of Norma Thalberg, nee Shearer, and her won- 
der-boy-of-the-movies bridegroom, Irving, she 
was hailed as from Vienna. But then, aren't they 
all.? There is presumed to be something about 
Vienna. Something besides schnitzels. Some- 
thing romantic. It is supposed to endow its fem- 
ininity with that certain charm which is its re- 
puted splendor. Thus Eva was Viennese. 
Maybe really. Maybe just for the public. The 
dear, old public, dot dope, which thrives best 
upon bunk for its mental pabulum. Bunk, 
99 99 loo percent pure. 

Fanfare and flourish announced Eva's arrival in the 
Land of Opportunity. From Hell Gate to the Golden 
Gate her praises echoed. As did encomiums lauding the 
perspicacity of her sponsors. The newspaper columns 
devoted to this discovery of Thalberg's and his bride's 
cost gold sufficient to have bribed the entire prohibition 
personnel laid end to end from Tiajuana to Toronto. She 
sailed into Holl\-wood on a flood-tide of printer's ink. 
When the tide subsided, she was left high — and presum- 
ably — dry. During the interim she learned some un- 
pleasant truths about the picture business. And earned 
all of fifty dollars during each of her few weeks of fame. 

Irving Thalberg is admittedly one of filmdom's genuine 
geniuses. If ever he has erred in judgment, it has never 
been admitted. His wife could qualify in any court as an 
expert in enumerating requisites for American cinema 
success. Their European tour combined pleasure with no 
small measure of business. The business of seeking and 
signing new talent for the screen. Skilled scrutiny of the 
field resulted in the selection of Eva as the best available 




bet for our movies. 
Her heart beat 
high. Why not? 
Picked as 
p rotegee by 
such all-pow- 
erful people, Nicholas Muray 

surely success was assured. Fate smiled. In fact, it 
laughed out loud. But she didn't know that until later. 

BACK TO CINDERELLA 

HERSELF, Eva seemed a sweet kid. A model of 
maidenly modesty. Of which there is no plethora in 
pictures. Trusting eyes looked from an appealing face. 
Naturally, she didn't quite know what it was all about. 
And she admitted it. She wasn't very sure she could act. 
But she would do her best to live up to the high esteem in 
which her sponsors held her. So on the crest of the print- 
er's ink wave her career was launched. She was Jack 
Gilbert's heroine in "Masks of the Devil." 
{Continued on page loC) 




T^^ FLESH 



and 



Dr. Balsinger, above, and 
at the right examining 
Louis Wolheim's face, de- 
cided that to beautify it 
would be to bankrupt its 
owner 



Th 



th 




HERE is no 

byss of anx- 
iety, no chasm 
of fear too deep 

at women will not cross 
for beauty. 

Pain is the pass-word. 

Admiration is the tem- 
porary reward. 

Permanent disfigure- 
ment is the grisly risk. 

But there is no hell women 
will not countenance m the 
name of Venus. 

This is a part of the philos- 
ophy, and a few of the facts I 
gathered after days of investigation 
into the beauty farms, rejuvenation 

palaces and plastic surgery emporiums that have sprung up around the 
movie center like mushrooms in a shady glen. 

Los Angeles and its boundaries are overrun with these institutions. They 
vary in type from the almost secrecy-guarded clinic-farms in the outlying 
suburbs, where doors are closed in the face of the inquisitive reporter, to the 
elaborate mansions along Wilshire Boulevard that advertise youth of face 
and form with electric-lighted billboards of semi-nude women. 

A visit to the latter luxurious sanitariums reveals nothing more 
alarming than a gracious and well-preserved hostess who is referred to 
as Madame, high priestess of double chins, vibrator treatments, baths, 
massages, and violet-ray cures. Madame very graciously explains her 
miraculous treatment. It is her own secret formula discovered in Russia, 
France, Spain, China, or whichever background she has chosen; and it is 
guaranteed to put the bloom of youth on ladies slightly wilted by time. 
Amounting to nothing more or less than comfortable rest-cure hospitals 
where one may board while undergoing the advantages of the treatments, 
the}^ are probably worth their time and effort to the wives of The Tired 
Business Men. 



Vanity Drives Hollywood 
Of The 

By DOROTHY MANNERS 

EXIT MADAME 

PRACTICALLY none of these youth-blooming establish- 
ments go so far as to operate on their patients; and when a 
face-lifting job comes along, or a double chin presents itself, 
Madame merely registers the case as her own and turns it over 
to a reputable plastic surgeon, if the patient is lucky; or a dis- 
reputable one, if she is in cahoots with him. 

The flesh and blood racket. What a gory, and yet 
somehow exalted, mission it is, primarily intended for 
the benefit of mankind and yet often resulting in the 
direst misery and heartbreak. 

With the motion picture industry to draw from, 
coupled with the social clientele of a prosperous 
^, and wealthy state, the flesh and blood racket 

^■'■^ opens a wide field to the plastic surgeon of Los 
•§ Angeles. To a few of them it's an exalted work that 
means uplift to the individual and a new life to 
start with. To others it merely means an oppor- 
tunity to feather their nests with exorbitant fees 
as they slash and mutilate their 
way through the beauty cure. 




In the upper c 
the picture of Albert 
Valentino — just above 
— is Jack Dempsey's pro- 
file, before and after. At 
the left is Evelyn Egt- 



34 



BLOOD Kackef 



To Suffer The Horrors 
Surgeon's Knife 



Under treatment of these charlatans and fakirs, women 
are crippled for h'fe in an attempt to reduce their ankles, 
are mutilated with face-liftings, and are fatally poisoned 
by freak operations. 

The wife of a famous comedian in Hollywood will go 
through the rest of her days with a veil-covcrcd face 
because of the butchery resulting from an operation on 
her slightly imperfect nose. 

A little flapper of the studios underwent a painful .iiul 
dangerous operation for weight reduction — and all in 
vain. 

The bride of a comedy lot director is suing a surgeon 
for slicing her lips until she has lost all sensation of the 
mouth. 

NOT .A.LL ARE FAKES 

NOT pretty stories, these, and j-et is the highly humane 
art of plastic surgery to be condemned by the fail- 
ures of the charlatans.? There are men, practising in this 
field, who look on their work as a great boon to mankind, 
an opportunity to correct the deficiencies of nature and 
give back happiness to those mutilated by accidents and 
freak events. 

Among this latter group, standing head and shoulders 
above his confreres, is Dr. VV. E. Balsinger, lately of the 
A. E. P., who spent the jears of the war reconstructing the 




f 



Above is Molly O'Day, after her 
reducing operation. At right, 
below, is Helen Ferguson before 
the alteration of her profile; and 
just above that, after the change 



Barbara LaMarr — above — was 
a victim of too drastic reducing 
measures. More fortunate were 
Adamae Vaughn — at the left — 
and Ruth Taylor — below her — 
prior to and following her facial 
mutation 

battle-torn faces of our war 
veterans. 
Dr. Balsinger spurns the title 
of beauty doctor. A visit to his 
establishment reveals no velour 
lumg parlor. In a tall business 
building across from Westlake 
Park, Dr. Balsinger has a modest 
suite of three offices, one for 
consultation and the other two 
for operation. His only assist- 
ants are a trained nurse 
and a reception clerk. 

It is to this man, 
slightly beyond middle 
age, with his jovial and 
robust sense of humor, 
that many of the lights 
of the movie world come 
for correction of their 
facial and bodily deficiencies. 

About the walls of his room I noticed 
autographed pictures of Jack Dempsey, 
Ruth Faylor, Virginia Bradford, Helen 
Ferguson, Duane Thompson, Marian Doug- 
las, Lola Todd, Harlan Tucker, Joe Ben- 
jamin, Mrs. Harry Langdon, Adamae 
\'aughn and others from the Holly- 
wood world — all bearing inscrip- 
tions of gratitude and admiration 
of his work. 

"The movie people are my 
best patients," began Dr. Bal- 
singer, moving gently back 
and forth in a swivel-chair. 
"Among them are found some 
of my most successful opera- 
tions. Oddly enough, most of 
the operations I have per- 
formed on screen people have 
been nose corrections. 
J {Continued on page it8) 

35 




InajU 



ut 



Gossip of the 



npHE love-life series running in Motion Picture is creating 
a stir not only with the pubUc in general but in Hollywood 
itself. After Marie Prevost's story was published her ex-hus- 
band, Kenneth Harlan, wired her from New York, where he is 
appearing in a Broadway play: 

"Could you have gone to the Central Casting Agency, and 
got a few more men's names to mention in your story?" 

Only a Casualty 

"DEN LYON, who has been mentioned in every love-life so 
far, says that he doesn't mind being in all of them. "But 
I am only casually named as among those present," sighs Ben. 
"I do wish I were featured in at least one." 

We Wonder Why 

■j\TORMA TALMADGE, her mother and sister arrived from 
Europe and immediately began denying things. Norma 
denied that she was going to be divorced from Joe Schenck, and 
Connie denied that she was going to marry Townsend Netcher, 
who met her at the dock. 

"It's always that way," said Peg, their mother. "Whenever 
a man becomes a stray, someone is always linking his name up 
with Connie's." 

Out of Order 

QIDNEY HOWARD, now working on the script of "Devil's 
'^ Island" for Ronald Colman's next picture, admits that he 
has made a terrible mistake. "The supervisors always have 
to turn down two scripts before they O.K. one," he says, "and 
I wrote my third script first." 

Arthur^ s Memory Is Good 

"''^^^HEN television comes: 
" Daughter, you're 







To 






Stars and Studios 



wanted on the 'phone." "Oh, dear; and I haven't a thing to 
wear." Being Arthur Silberblatt's wise-crack. 

T}ie Security of Art 

"T^HE only man who is sure of a permanent job at First 
National these days," says the Wise Guy, "is the fellow 
who goes around painting out the names on the office doors 
and changing them to different names." 



Desert Aisles 



" AVOID crowds," is another current 
"Go to the United Artists Theater." 



ntmartre jest. 



And Man Enough to Say So 

AT the Rose Bowl game on January first an immense 
crowd, with many movie stars among it, watched a rattled 
University of California player run toward the enemy's goal 
with the ball. That evening the poor player was introduced to 
Edmund Lowe at a part3^ "I beg your pardon," said Lowe, 
"but I didn't catch your name." The college boy was quite 
white, but he managed to smile gallantly. "My name doesn't 
matter hereafter," he said grimly. "I'm just the fellow who 
ran the wrong way." 

The Brass to W ear Gold 
A MOTION picture producer of note recently decided that 
he was rich enough to afford that hallmark of success, 
a yacht. He purchased one and arrived for his first cruise 
wearing a complete naval uniform with glittering buttons, 
gilt braid and other insignia belonging to the rank of an 
admiral. "But 30U shouldn't dress like that," 
tested. "A private individual isn't allowed to 
brass buttons!" "Brass!" said the producer 
indignantly. "Where do 
you get 




Believe it or not, Maurice Cheva- 
lier — at top of page and in the 
depths of despair — is regarded as 
the best-dressed man in Paris. 
With him is young David Durand 
What with her red tresses and 
white-and-blue dresses, there's no 
wonder that Mary Astor — above 
— should be a national favorite 
Another bathing beauty to take 
up acting in a serious way is 
Carol Lombard — at the left — who 
recently stopped being aquatic 
and became dramatic 

37 





All the Gossip of the 

that brass, eh? These buttons are solid gold, I'd like to have you know." 

Gracious Miss Compson 

WO guests turned up at the Cruzes' on New Year's Day and were 

greeted cordially by the host and hostess. "Glad to see you," said Betty 

Compson. " If I'd known you were coming, I'd have invited you." 

Who's to Blame? 

"\A7'ILLIAM LOCKE, the veteran novelist from England, 

has been widely feted and dined since he came to Hollywood 

and has had the opportunity of meeting most of our movie 

celebrities. Which makes this anecdote a bit tough on the movie 

colony. The other day Locke was lunching with Roland Bot- 

tomley, the English actor. After the first course was over, he 

sat back in his chair and gazed at Bottomley with ironic 

amazement. "My God!" he cried. "He's a gentleman." 

You Rogue! 

XTERGESHEIMER is back again. All genius has its 
peculiarities. It is said that his is to snap the garter 
of the ladies he meets. 

A Girl He Can't Forget 

/^IL BOAG, ex-husband of Gilda Gray, was met — so the 

story goes — on the street by two burly strangers in front 
of his club recently. The shades of night were drawing down. 
"Here is a Christmas present Gilda sent you," said one of 
the strangers and forthwith hauled off and hit Mr. Boag in 
the eye. But Gil did not go after beefsteak for a poultice. 
Instead he gave a party and invited his friends to see what 
Gilda had given him for Christmas. 

A Parting Shot 

"npHE reason why there are so many more divorces in 
Hollywood than anywhere else," said the intellectual 
star profoundly, "is simply this: there are so many more 
marriages here, don't you see.?" 

Rinty's Rival 

"^ARRYL ZANUCK, scenario writer and executive of 
Warner Brothers, has been nicknamed Zanuck of the 
North since "Noah's Ark" opened. 



D^ 



Preston Duni 



Yes, it's actually so: a movie star wearing a 

gown that's not the latest from Paris. Bodil 

Rosing's dress is a Danish peasant costume 

over a century old 



Gilt and ease of mind sometimes go hand in 

hand, if we may take as evidence this ornate 

settee and the expression on Thelma Todd's 

face 

H. D. Carsey 



38 



Stars and Studios 



'T^HE scenario head o 
■*■ art. "Why shouldn 
"I got a good plot." 



.ind Carbon Papers Cheap 

of rlu' big studios was explaining his 
)i' able to turn off twenty pictures a ; 



JhJAURITZ STILLER, the dii 
Sweden. He was a sick mar 



Helping tlie Help 

rector and friend of Greta Garl 



He was starching for a house to rent on his arrival and was shown 
one with four bedrooms. "Oh, no; that would never do," said 
Stiller. "I like the house, but there are too many bedrooms." 
"You don't have to use them all," suggested the real estate man, 
puzzled. " It's like this." said Mauritz. " I don't sleep nights 
and I go from one bed to another to try to find rest. If there 
were four beds, it would make too much work for the 
servants." 

She Feels Po'ly 

gELLE BENNETT has a plaintive way with her. 

"Whenever you go onto the set and say, 'Hello' to Belle," 

said a fellow player the other day, "she always gives you a 

patient smile and answers, 'I'm a little better today, thank 



Why So Soon? 

■p^OROTHY PARKER, recently imported from New York 
to write for Metro, admits that she is in disgrace at the 
studio because she went away from her office one day and 
left a note on the door. The note read, "Leaving to wait for 
a supervisor. Will be back in a month." 

Lucille's Lessons 

TUCILLE GLEASON has made out a list of Suggestions 
to Young People Wanting to Go on the Stage: 

''Expect ten years to reach Broadway — if you're lucky. 
And you must still be the same age when you arrive as 
when you start. 

"Expect to receive about one-fourth the salary you hear 
an actress gets. Most of this goes to press agents for saying 
that she gets it. 

"Prepare yourself to go into some other kind of work." 
{Continued on page 114) 




R. H. Louise 
Ever since fans first heard that Jane Daly was to be associ- 
ated with it, there's been an epidemic of trying to guess the 
identity of "The Mysterious Island" 




Harmonious — and properly so — are Bessie 

Love and Charles King, considering that 

they are co-featured in the song-and-dancie, 

"Broadway Melody" 

Three highly decorative figures, these at the 

left. The most important being Betty 

Compson; and the others, two small speci- 

from her extensive collection of 

sculptures of elephants 




Your^ooted 

Millionaires 

The Movies Have Made Enormous 
Fortunes For Quadrupeddlers 




DOROTHY DONNELL 



BE kind to animals; it pays. 
That's what Lee Dun- 
' can says and Lee ought 
to know. Eleven years 
ago, a young lieutenant stum- 
bling through the deserted Ger- 
man trenches in pursuit of the 
retreating Boche discovered a 
dead police dog with a newborn 
litter of pups. One of these small wriggling scraps 
of life he picked up and carried on with him 
in his pocket. And so made a fortune for himself. 

"I'm driving the seventh Cadillac that Rin-Tin- 
Tin has bought me," says Lee, waving an expen- 
sively tailored arm toward the dog star. "I've had 
it pretty easy these last ten years, thanks to Rinty. 
Cars, a fine home, stables of blooded horses — he's 
bought me everything I own. A salesman for 
sporting goods, such as I was before the 
war, could never hope to have thing; 
like that. And then there's my mother 
too — she's had it pretty nice, and all 
because she used to tell me when I was 
a kid to be kind to animals. If she 
hadn't, I might have gone on and left 
that poor squealing little pup lying 
there to die in the mud." The horror 
of the thought caused him to pale per- 
ceptibly. 

The only dog now starred in the movies 
lifts a hind paw and scratches in a bored man- 
ner at a flea somewhere behind his right ear. 
His colored valet, Jerry, who never leaves 
his side, stands at attention. When Rin- 
Tin-Tin travels, he lives at the best hotels, 
with a private room and bath to himself. 
And Jerry has a room and bath, and Lee 
Duncan can afi^ord two rooms and two baths 
for himself if he wants them. 

THE VERY GOLDEN RULE 

BUT Mr. Duncan is still worried for fear you may have 
missed the moral of this tale. He speaks in the solemn 
tone of one stating the Golden Rule. "And this teaches 
us," he says earnestly "to be kind to animals; it Pays!" 

It was a Golden Rule indeed in his case. To date, his kindness 
to Rin-Tin-Tin has paid almost a million dollars! This police dog 

40 



is insured for more than a 
hundred thousand despite the 
tremendously high premium 
rate on animals' lives of thir- 
teen dollars a hundred. He has 
his own production unit and 
several hundred people make 
a living from working in his 
pictures. 

Though Rin-Tin-Tin has 
tnnied more than any other 
annual has ever made in the 
movies, there are a num- 
ber of other owners of 
^ talented dogs, cats, 

'"-=1, monkeys and horses 

N {Continued on 

* - page 104) 



Strongheart and — on 
his right — Flash, Bom 
Bom, the cat; and be- 
low, from left to right, 
Rex, Silver King and 








In which Bebe Daniels and Richard 
Arlen display unconcealed pride. 
Each has a collection of unusual 
swords and knives, Bebe's being 
antique and Dick's being barbaric, 
the gift of those who made the 
African scenes for "The Four 
Feathers" 




^XO^^po^^^ 



lie Man IVho Played CHRIST 

H. B.Warner Knows Too Much T'o Be Cynical 



By GLADYS HALL 




" "m yTY child, I'm too old 
% /I be cynical. I've 

I ^/ I seen too much. I 
do know that 
the milk of human kindni 
runs exceeding thin, as thin 
as acid, in most human 
breasts. Now and then 
you meet the Good Sa- 
maritan but they are few 
and far between. 

" Christ was not a'Man 
of Sorrows.' If He should 
come to Hollywood to- 
night. He would be the 
most popular man out 
here. The most pop- 
ular man anywhere, in 
any group. 

" I hope I'm too much 
of a gentleman to resist 
temptation. That 
wouldn't be very gallant, 
now would it.f" Very cour- 
teous, I'd have to say 
'Excuse me just a minute, 
God.' 

" I am coveredwith scars." 

You can see, from the 
foregoing excerpts of an eve- 
ning's talk with H. B. Warner 
how difficult a matter it is to 
write a mere impressionistic tale 
of him. 

It is a comparatively simple mat- 
ter to write such stories of lads like 
Buddy Rogers or Charlie Farrell, or Barry 
Norton. They are just beginning. They 
are standing on strait thresholds. They haven't 
got into the maze called life. You can etch in a dream, a 
desire, an ideal, a Maytime sprig of lovis. And there you 
have 'em. 

HIS CHILDREN, HIS LIFE 

WHEN you come to a man like H. B. Warner, you are 
up against something, someone quite different. More 
than forty winters and summers have passed over his 
head. Each season has brought its burdens, its problems, 
its rewards. There is the criss-cross of complication in the 
telling. The extracts and essences of experience and phi- 
losophy, sustaining faiths and damnable disillusions. Life 
has hurt him so that, in his own words, he is "covered 
with scars." The weave of the man is intricate. The 
theater is ingrained in him. The love of home. Earlier 
and other aims and ambitions. His chief happiness rests 
in his children. "They are my life," he says. "The mean- 
ing of it all. All 1 live for." 

his poi.^^ 

42 



He needs a book, H. B. War- 
ner. The casual scrivener 
pauses before a task so deli- 
cately, deliberately intricate. 
Biographing. You would 
have to go back to his 
young days in London. 
His home, founded on 
five generations of thea- 
ter people. The talk of 
the theater around the 
dinner table. The he- 
reditary atmosphere of 
grease-paint and foot- 
lights, wings and roles 
and criticisms. 

It would be im- 
portant to note that 
the young Harry 
Warner tried to break 
away from that hered- 
ity, from the thespian 
pull of five generations. 
He wanted to be a doc- 
tor, a surgeon, an ob- 
stetrical surgeon. He 
started training. More 
than just started, he spent 
two years in the maternity 
ward of a hospital. Clever 
analysts may find the con- 
necting link between that young 
desire to help human life into 
the world and the mature desire 
that has found its dominant satis- 
faction in the fathering of children. 
We won't go into that. At any rate, in 
that ward, he learned something of life at 
its source, at its very beginning. He saw women 
suffer abominably, and smoking a pipe and reading a book 
meanwhile, he saw women labor and bring forth. At any 
rate, he must have emerged with a knowledge of the fun- 
damental values. He has, today, no sort of use for the 
type of woman who is not maternal. Women who will not 
bear children, who have no desire to do so, are abnormal 
and not to be considered in his estimates. 

BACK TO THE THEATER 

THE theater got him, eventually. His father broke 
down and cried when the young medical student 
told him that the clinic was not for him. He had hoped, 
too, it seems, that the boy would do more — or is it less-f* — 
than provide painted amusement for wise men and fools. 
Really to understand H. B. Warner, it would also be im- 
portant to follow his footsteps through those earlier theater 
years. To know something more of his dreams and desires. 
[Continued on page 102) 





She's up to her aviatrix again, is Ruth Elder, taking another flyer in pictures. 

The first was her appearance opposite Richard Dix. This time she's playing the 

leading feminine role in Hoot Gibson's forthcoming airplane thriller, "Birds of a 

Feather" 



X 



ove 



Jegan at Fourteen, 
th Frank Tinney; 
day It Concerns 
Man Who Doesn't 
Know of It 



I 



start Hollywood talki 

Mary Nolan had to give 

seeing Norman Kerry 



WAS fourteen when I first met Frank Tinney. 

A runaway from St. Joseph's convent, I had com( 
to New York, worked as an artist's model, put ni} 
money into dancing lessons, and finally secured work 



tiald Colman as their hero? Well, 
:ank Tinney was mine and I was as 
hrilled as Mary Aitken of Podunk. 
owa, would be if John Gilbert 
pfFered to give her a ride just at the 
time she had made up her mind to 
enter pictures. 

RAIN AND ROMANCE 

I SHALL never forget that 
night. The rain — do you 
know that rain can be more i 
romantic than moonlight or ; 
roses? There's something 
about the pelt, pelt, pelt of 
raindrops on blank win- 
dows which inspire one 
with dreams and ambi- 
tions and, yes, love, as 
perhaps no other device 
of old Mother Nature. 
And here I was driving 
home with Frank Tinney 
and his secretary. 

Only wedidn't drive home. 
I begged them to take me, and 
when I found that we were going 
farther and farther away, out 
into the country — I didn't understand why, but I just 
knew I was frightened, horribly frightened. 

And that ride was life's W^aterloo for Imogene Wilson. 




the chorus of "DaflFodils" through the aid of James Is there any need to go into the years which followed? 



Montgomery Flagg. 

I wasn't so innocent as I was ignorant. Convent girls 
are never innocent. They have a desire to learn to know 
all about the life from which they have been so protect- 
ingly shielded. But they are babes in the woods when it 
comes to a knowledge of men and the dangers they can 
hold for a woman. 

It was one rainy night six weeks after I joined the show. 
I was taking the street car to and from work. F"rahk 
Tinney came along just as 1 w.is leaving. "Come on, I'll 
drive you home," he told me. 

Can you picture the thrill that invitation gave me? 
Here was the star oflfering to help a green girl in his 
chorus. Beautiful vistas opened before me. If he should 
take an interest! A short road to success is always in the 
mmd of every girl on the stage or in the movies P)esidcs. 
the romance of it. Yon know how rhf little girls who 
ai-rcnd the movies pick ont lohn Cilhnt o, MjU Asfh-i or 
4 \ 



Of course, I was infatuated with Frank. In spite of what 
had happened I was still just a child worshiping at the 
feet of a man who had reached the zenith of my own 
profession. I have never told the whole story. Why 
should I? It is not a pretty story and, besides, no one 
would believe me. But whether the world believes me or 
not, I know that it was a long time before I knew Frank 
Tinney was married. 

The newspapers! My God, the newspapers. They made 
the name Imogene Wilson a byword in practically every 
country. Mothers grabbed the morning papers and hid 
them away to keep their young daughters from reading 
about me. Daughters no older than 1 was when I rook 
my first ride with Frank Tinney. One night became my 
limit in any hotel in New York City. I moved, by re- 
quest, from one to another. I think I stayed in rhem all 
— one-night stands — during that period. 

Finally I did secure a chance on \ nudeville up in New 



J^ife Story 

of Mary Nolan 

If ho IV as Imogene lf^ilso7i 



As Told By Mary Nolan 
to RUTH BIERY 



England. I was to receive one hundred dollars a 
nignt. I did for the first week. But the second — well, 
surely there was no need to pay me. Was not my 
name Imogene Wilson? 

Then I got on a boat bound for Europe. I had 
exactly one dollar. I don't know how I thought I 
was going to get along. I didn't think. Youth 
doesn't, you know. That is one of the penalties you 
pay for being youthful. You just do things without 
thmking about them. 

The newspaper men who met the train practically 
fed me. They helped me in London. The newspapers 
may have helped wreck my childhood and girlhood, 
but they certainly gave me my start over again 
London. 

BUYING HER LOVE 

fY love-life? (Mary 

, Nolan leaned back 

against the pillow of her 

bed in her suite in the 

Ambassador Hotel and 




Three men who have meant 
much in life of the girl the 
world formerly knew as 
Imogene Wilson. They are, 
from the bottom up and in 
the order of her acquaintance- 
ship with her: Frank Tinney, 
John Gilbert and Nils Asther 



■*^ ruig( 



Ml 



miled; a smile so beautiful, yet so 
nged with sadness that my eyes 
hlled with tears as I watched her.) 
Why do you want my love-life? It is so colorless com- 
pared to the love-lives of other people. For three years 
thought all the men of life had been buried with one 
man. I thought I would never be able to know the nor- 
mal joys, the normal sorrows, which are the birthright of 
any woman. The German people — they are wonderful. 
I was a star in their pictures. They took me into their 
hearts, made me one of them. But I could not forget. 
I never cried; I never talked about it. But here, in 
my heart, it was all buried. 

A woman can keep a broken heart, a broken soul, 
buried just so long, then something snaps within her. 
At the end of three years I snapped — and was con- 
fined to a sanitarium with a nervous breakdown. Now. 
I am glad that it happened. I had to have that break- 
down before I could mend my heart and my soul and 
my body and wake up and realize that because a girl 
deals herself one terrible blow doesn't mean she 
cannot go on living and enjoying and loving. 
There was one man who seemed to understaod. 
to appreciate, my condition. He was my physi- 
cian. He sympathized with me. Women fre- 
quently fall in love with their doctors, and 
sympathy is always the cause of such in- 
fatuations. I lay there in bed ill, mo- 
rose. He comforted me, consoled me 
{Continued on page Q2) 





Not a girl to respond to the 
Sir Walter Raleigh kind of 
treatment, was Katherine. You 
not only had to treat her rough, 
but keep on treating her rough. 
If Mrs. Dempsey in real life 
were like her characterization, 
Jack would have little trouble 
keeping in training. Provided, 
of course, he could stand the 
punishment. The husband in 
the play had to work always 
on the principle that the only 
way to handle a woman like 
his Kate was first to lock her 
up and then to sock her down 



Qljefore and <:^yifter Qjreaking 




The ladies of the Elizabethan 
era wore very stately dresses. 
But their manners were at 
times less dignified. Here 
Estelle shows Katherine, the 
heroine of Shakespeare's play, 
first asking her husband where 
he got the idea that he was the 
big lord and master man, and 
finally- in the corner — sling- 
ing a bottle at him. No harm 
done, of course, for the aim 
was characteristically feminine. 
The moral of which is, of 
course, brawl's well that ends 
well 



Estelle Taylor Depicts Several 
Stages In "The Taming of the Shrew" 



tias He Really Suffered P 

The Ladies Say Gary Cooper Has 
But He Himself Can't Quite Tell 



B\ H^LI^\ 
1 Ol LSI W \LKI R 



ifanrh lia[)|Hii- 
1 the btudio lot 



I 

■ — atoptningb iii res- 
taui ants— on HolK - 
\\ood Houlevaid. Sud- 
dcnU all the ^^on,en in 
Mj^ht v\ill gtt dc\\>-(.\cd 
and will tlasp then hands 
and \eam and languish in 
the most astonishing 
mannci . 

It IS a sign that (jary 
Cooper lias jiist ciossed 
the hoiizon or cnteied 
the room oi driven past. 
It ht onl\ passes hv, he 
leaves behind him a tiail 
of women in a sort of 
melted eondition, if \oiJ 
know what I mtan C'om- 
pletelv devastated And 
1 assuie von it is not t)nlv 
Happeis and eongemtal fans 
and frustiated middle-aged 
women who react in this 
suipiisingwav No, indeed' 
Hard -boiled newspaper 
women and seiipt girls and 
tven ladv piess-agents mtlt 
down in exaetlv the same 
mushv niannei 

Koi a long time I couldn't see why 
the\ did It iNot that I'm really hard 
to subjugate, you know But I never 
cared especially tor cadaverous 
3 oung men, I seemed to prefer them 
lound and eheerv Gary always 
looked to me as if he had rathei 
bad dreams. 

So I inquired about the matter 
from one or two of my acquaint- 
ances. That is, I asked them as soon 
as I could contrive to arouse them 
from the trance into which they in- 
evitably fell at sight of him. 

what's the boy got.? 

SHAKING their shoulders and applying 
smelling salts, I urged, "What is it.^" 
What is there about this man that does this 
to you.?" 

'I'he result of questioning was to throw them rigl; 
into languishing again. Clasping their hands, and \\ 




great sighs, thev gasped 
eestatiealK that, "Oh! He 
looks as if he had suffered 

Well, Hooked and looked 
It him He does have 
rather sad eyes and a 
morose expression. And 
he is undoubtedly thin.. 
But, try as I would, I 
could not see anything 
but a young man who 
looked as if he really 
should be taking yeast. 
It was all very puzzling. 
But the more I looked 
and the more I heard 
about him, the more curi- 
ous I became. So the 
other day I decided that 
Tw^ould just go and ask 
him if he had really suf- 
fered. 

He was on location at 
the Lasky ranch and when 
I arrived, after a fort}'- 
miJe drive, we had some 
trouble finding him on the 
adobe village set where 
the company was working. 
In fact, we passed him sev- 
eral times, thinking he was 
a prop. Dressed in torn and 
ragged leather garments, his 
face and arms and chest 
smeared with sticky brown 
grease paint, he was sleeping 
on top of a covered well. 
A press agent roused him 
as politely as he could and murmured 
in his ear that a girl wanted to inter- 
view him. He looked rather depressed 
about that, I thought. But he sat up 
and rubbed his eyes and shook his 
head, trying to waken. And then we 
found seats in the shade. 

SLEEPY AND GLOOPY 

SITTING hunched over, his hands 
clasped between his knees and 
smeared with all that brown stuff, he was 
rather a"Sad spectacle, I decided. And yet 
— yet — under all the gloopy paint — there 
was — something — charm — . 
"Have you — really suffered.?" I asked him. 
He blinked at me. Not that I blame him. 
"People keep on saying that you look as if you 
had," I explained. "And I just wondered." 
I thought he might be annoyed, and I was prepared to 
{Continued on page go) 




Rich Girl, Poor Girl, 
Beggar Girh Thief ^-5,= 




L^ife and 1 imes 

of a Honey 

When She Wa s Five 
Jim Haver's Girl Tried 
To Be An Adventuress 

By CKDRIC BELFl^GE 



JIM HAVER'S 
girl is back." 
The word 
flashed 
around the one 
thousand inhabitants 
of Douglas, Kansas, 
in less time than it 
takes for news of the 
latest divorce to make 
its way amongst Holly- 
wood's Montmartre Ci 
gossips at the Wednesday 
lunch hour. 

"Jim Haver's girl" had 
'phoned in from Hutchinson, 
twelve miles away, where she had 
stopped off on a flying trip east between 
pictures, to tell her family she was coming 
back to see thqm. Of course, the Douglas oper- 
ator hadn't been able to help hearing what she said. At 
any rate, Phyllis arrived next morning to find that every 
woman's son and daughter in town knew about what she 
thought would be a surprise visit, and were out to give 
her a vociferous welcome. 

All day long 'phone calls came in from the neighbors. 
"Hellow, Jim," they said. "1 hear your girl's back. We'd 
like very much to drop in tonight and see her." That 
evening the countryside was completely deserted for miles 
in every direction from Jim Haver's place. Outside the 
house where Phyllis Haver spent her childhood there was 
a row of cars as far as you could have seen. Many of them 
were Rolls-Royces — for everyone in and aroand Douglas 
is rich since they struck oil there more than ten years ago. 

50 



JIM S GIRL, NOT PHYLLIS 

JIM HAVER'S girl was back, and what would you sii^ 
pose they wanted to talk to her about? Hollywood.^ 
Did they seek a Guide to Hell, by One Who Has lieen • 
There.? Did they want to know about Sin, and How the 
Best People Commit It? They did not. 

The girl they came all that way to see wasn't Phyllis 
Haver, the movie star. It was Jim Haver's Phyllis. 
She had been somewhere called Hollywood all these 
years, but that wasn't so important. The thing was 
that she was back. 

The big event in Douglas's social life was suit- 
ably celebrated with a great bowl of grape-fruit 
punch and a profusion of nabiscos. There were 
Phyllis's grandmother and a handful of her aunts 
and uncles to look after the arrangements. And 
Jim Haver, who looks like Tommy Meighan and 
has a blarney about him that the ladies love, 
stood by his Phyllis and introduced the long 
'ine of guests to her. 

"Let me see," said a sweet old lady, keeping 
tight hold of Phyllis's hand and wrinkling her 
forehead. "How old are you? You must have 
known so-and-so, I should think. Poor man, he 
died last month." 

"Do you remember so-and-so?" said another. 
"Well, no — perhaps he was a bit before your time, 
but there was so-and-so, whom he married — you must 
have known her. They just had the prettiest baby. You 
didn't know her, either? Well, that makes you how old?" 
A very serious looking little girl was brought up and 
presented. After she had made her best courtesy, she stared 
the guest of honor in the face and said: "Do you know 
Len Wise?" 

"No, I don't think I do," said Phyllis. 
"Well, he knows you," returned the little girl. "He 
went to school with you." 

SADDER BUT NOT WISER 

Ar this point her mother intervened. "She means he 
went to the same school as you," she explained 
sweetly. "Len Wise is my father — he went to that school 

{Continued on page pj) 




The ^ride Of Wis \^ife 

Reginald Denny persuades Betsy Lee to altar her existence to coincide with his. You 

can't scare Reggy with any such proverb as When a Man Marries His Bubbles Begin, 

for when he wed Bubbles, alias Betsy Lee, alias Isobel Stiefel, he could not muster a single 

regret 



:^. 




^jtrningTheir 



By HELEN LOUISE WALK 



t^VEN a goldh-sh, who has nothing to do all day 
A except swim about in a nicely furnished glass 
i bowl, waving his little fins and showing off his 
pretty scales for the admiration of the beholders, 
must sometimes become a trifle bored with life. That is, 
if he is a sensitive goldfish. 

You see, he has to maintain the dignity and live up 
to the traditions of a really high-bred goldfish — else the 
people who are supporting him won't come across with 
the ant eggs every morning. 

Life is quite a lot like that for an actor. 

For it is not enough that an actor be a good one in his 
line. It is not enough that he be made a star. After that 
eminence is achieved, the poor soul finds that he must 
spend the rest of his professional days proving the fact. 
He pays for ease, fame and the privilege of working four- 
teen hours a day by becoming a public figure with moral 
—and other — responsibilities toward nearly everybody in 
the world. 

Not the least of these responsibilities is the one of 
embodying ideals. 

KMBODYING FOR EVERYBODY 

HE must embody the ideals nut only of the girl behind 
the counter in Mr. Woolworth's dime emporium in 
Keokuk, but also those of the president of the Woman's 
Club in Cleveland. And it is not enough that he do this 
in the roles he plays upon the screen. He must also do 
all this embodying in his private life. It becomes some- 
thing of a chore. 

This is one reason why, to a stranger in our midst, the 
people of Hollywood never seem like real people. It is 
the thing which gives the onlooker a sense ot unreality, 
the feeling that he is walking around in a story book or, 
mayhap, a scenario. A sense of being surrounded by 
characters who are not alive but who came, fully grown, 
out of somebody's mind. 

Everyone is trying so hard to be the thing that the 
public expects of him. He is conscious of living in the 

52 



public eye and he fears to disappoint the people who 
believe in him — and who support him. Who supply, 
as it were, the ant eggs. 

First, you understand, he must act like an actor. It is 
an old legend, the one about actors, handed down from 
the days long before motion pictures were ever heard of. 
They have been supposed to be mercurial, unaccountable 
beings, living extraordinary and colorful existences, given 
to bursts of temperament and temper. Hard-living, hot- 
loving nomads, with never a drab, normal impulse. 

"The thing has its compensations," John Barrymore 
told me once. "No one expects an actor to be a sane 
individual. The phrase, 'He's an actor!' will excuse almost 
any idiosyncrasy of conduct. 

"I remember one time during the war — when the fuel 
conservation measure was in effect and one could not 
drive an automobile in New York on Sunday. I had been 
out on Long Island on Saturday and had a break-down 
coming back. It was six o'clock and broad daylight when 
I drove into the city. A cop promptly nabbed me. 

ALL IS FORGIVEN 

"TTE looked me over with excusable surprise. I had 

JL X on old clothes and my roadster was loaded with 
several trees which I planned to set out in my garden — 
and three dogs. 

"'Been drinking.-" he inquired. I hadn't. 

"'Here,' I thought, 'is where I spend a lot of weeks 
in jail.' 

"'What's your name.'" asked the Law. I told him. A 
light dawned over his face. 'John Barrymore — the actor. ^' 
he inquired. 'The same.' 

'"Oh — that explains it. Drive on!' He said it gently, 
as one would tell an imbecile to return to his nice, warm 
cell. It amounted to the same thing. An actor was just 
a strange bird whom it was not surprising to find taking 
several trees and dogs riding at six o'clock on Sunday 
morning. One treated him kindly, patted him on the 
head and sent him on his way. 




'Eggs 



Hollywood's Human Goldfish 

Must Either Swim Pretty Or 

Go Hungry 



"As a matter of fact," Mr. Barryinore con- 
cluded sententiousljs "actors, as a class, are 
just as mundane as any other class of people. 
They have the same hopes and ambitions, 
fhey marry and rue it, just like anybody else. But it 
would be too bad if the public ever found it out." 

In that last remark, Mr. Barrymore made a loyal effort 
to sustain an illusion which screen actors and their press 
agents are trying most assiduously to establish. 

It is the illusion demanded by the clubwomen, the 
wowsers and the presidents of purity leagues. It has to 
do with dignity, the chastity of youth, the sanctity of the 
home and the preservation of public morals. Its para- 
doxical basis is the avid interest the public takes in any 
scandal concerning its glamourous idols of the stage and 
screen. 

DR.\BNESS DEMANDED 

IT is the illusion that actors, sentimental, sentient beings 
who spend their days making vicarious shadow love 
under hot lights to the sound of sobbing music and grind- 
ing cameras. lead the same drab, domestic lives that Mr. 
and Mrs. Abner Skoggs lead in Sauk Center. 

Absurd and fantastic, of course. But the exigencies of 
being public figures demand it. 

There are, for instance, Doug and Mary. They are 
happily married. One might think that, after so long a 
time, the fact might be taken for granted. But such is 
not the case. Dear me, no! One gathers that the more 
moral portions of our commonwealth view such a phe- 
nomenon with deep suspicion ajid skepticism. 

So Mr. and Mrs. Fairbanks, who lead the most un- 
eventful existences imaginable, are driven to extravagant 
lengths to prove their domestic felicity to a doubting pub- 
lic. One never appears at any public gathering without 
the other. They always sit side by side, even at dinner 
parties. Mary never dances with any man except her 
husband. And if you think that one of them would lunch 
alone with any member of the opposite sex except his 
spouse — that just shows how little you know about it! 



Different actors embody different ideals, according to 
their types. But they must be consistent about the thing. 

Valentino, having built a reputation as a great lover 
began to slip as soon as he married and rumors of domestic 
rifts began to drift about. The public would have pre- 
ferred him to remain single. But, failing that, the ideal 
lover must not have trouble with his wife. He hadn't 
lived up to it! 

However, as soon as his separation from Natacha 
Rambova was accomplished and he was again the free 
and untrammeled sheik, things looked up for Rudy. 
Public memory, fortunately, is short. 

THE GARBO-GILBERT CASE 

THE romantic actor must sustain the illusion of 
romance at all costs. 

Greta Garbo and Jack Gilbert occupy a rather strange 
position just now. As potential lovers they are interesting 
and every time a rumor of their engagement crops up, 
public curiosity seethes and froths. 

But it is true that, while all the world may love a lover, 
no one takes much interest in a married pair. Perhaps 
Miss Garbo realizes this. I cannot believe that it would 
make the slightest difference to Jack if he wanted to 
marry. It would be too bad — for their careers — if these 
two became man and wife. 

A wedding is the end of a story. Anything afterward 
is an anticlimax and of little interest to anyone except the 
principals. The tremendous amount of publicity given 
the Vilma Banky-Rod La Rocque marriage proved that 
fact. Public interest in the pair waned afterward and has 
never revived. 

The romantic leading men and women must not only 
lead romantic lives — in the public prints — but they must 
be upright, moral and good to their mothers as well as 
to any other stray relations who may turn up — and nearly 
always do — as soon as the news of their enormous salaries 
is published. 

In addition to this, they must live like stars. This is 
(Continued on page I^J) 

53 







IVhat Clara Bow 
JVe a r s In Th e 
Boudoir Zone 



Clara's ideas in dressing gowns may be 
sheer, but they're not nonsense — not if 
your reaction is what ours is. We're all 
for her continuing to live up to her motto 
for informal raiment — which is, of 
course, loose and translucent 



i\ LJi'okeii S 
GiSHES 



of 



For The First Time, 
Dorothy And Lillian 
And Their Mother 
Go In Different Paths 

By BEATRICE WILSON 



THE famous Gish com- 
bination no longer 
exists. The famih' 
motto, "Three for 
one and one for three," 
for these good many years has 
refused to break under the 
attacks of producers. 
directors and movie 
magnates, has been 
shattered at last. For 
the first time in the 
history of the Gish 
family, each member 
is on her own. 

Quite recently, 
D o r o t h \- Gish 
startled the 






Dorothy — above — has proved the more ad- 
venturous of the two Gish sisters; and suc- 
cessfully so, for her stage debut in 
Love" — wherein she appears as at the left — 
won her a generous wreath of laurels. But 
Lillian, in the two lower pictures, continues 
within the shelter of the studios 

film world and the people in general by 
declaring that she was going on the 
stage. Not since she had been a very 
little girl, about ten, when her stage 
career ended by her being sent to 
school, had she shown the faintest symptom 
of being stage-struck. Notwithstanding a highly 
; successful and ludicrously profitable engagement 
' with an English film concern, she all at oiice de- 
cided that she'd like to go behind the footlights. 
Perhaps being happily married to James 
Rennie, one of the very few talented young 
males on the stage, had something to do with 
it. Whatever it was. Dorothy read some two 
or three hundred plays, worked hard on getting her 
voice fit for theatrical acoustics, and finally appeared before the 
New York public. 

BETTER THAN HER PLAY 

FOR all a somewhat indifferent play, she gave an unusually 
fine performance, and showed not a single trace of her long 

and faithful screen career. Not one of the dramatic critics 

the morning after her opening referred to her "movie technique.'' 
That in itself showed the uncommon talent Dorothy possesses as 
a dramatic actress, because, according to her own statement, her 
motion picture knowledge helped her infinitely. Her gestures were 
more easily and eloquently made, she could rely on her film exper- 
ience to make every bit of stage business count and, whenever 
necessary, long training provided a sure method of putting over 
any facial expression required by her part. 

She's done something that few, if any, screen stars have succeeded 
in doing. There has been more than one famous Hollywood name 
flash across the legitimate theater. But only momentarily and 
nearly always accompanied by the advice of the press to go back 
to the films. 

Lillian, Number Tvi^o of the Gish combine, has returned to 

California to make a new picture for United Artists; and the 

{Continued on page g/j.) 




Discouragement is no word for the feelings 
of the rabbit on the left when he comes upon 
the prowess of the ostrich in laying eggs. 
When Anita Page and Eddie Nugent — 
above — give the old bird all their £ 
tion. the bunny feels that there's nothing 
left for him to do but sneak off and c 
hareykari 



Cjirls in ^jCollywood 

Easter Festivities, Anita Page, 
Torres Are Rabbit Enthusiasts 




Hareum-scarum tactics, 
that's what Anita Page, 
on the left, practises 
when she goes 
Easter eggs. 
Raquel Torres, above, 
makes up as one of them 
and buys her eggs by tell 
ing the bunnip<!t rottnr 
tales 





Turning on the It isn't a matter of what you wear, Dorothy Mackaill says. Nor a matter 

of what you don't wear. It's a ^matter of the pattern of thought that you project upon the 

background of your mind 



L^enrii Sex Appeal ^^ 
at HOME 

j0^ 





Brings Big" Returns 

Easily Mastered — Let 

Dorothy Mackaill 

Tell You How 



I WAS interested, and a little amused, not 
long ago when visiting First National Studios in the 
interests of ni}', ahem! art, to be told that they were 
rebuilding, as it were, Dorothy Mackaill's sex appeal. 

"How did she — er — mislay it?" I wanted to know. 
Anybody could understand that for a young lady to lose 
her sex appeal was serious. What with the Alice Whites 
and the Lupe Velezes coming on with such indubitably 
compelling brands of that commodity, any studio 
with a pretty girl like Dorothy under contract 
would take great pains to see that she should 
not suffer a slump in that direction. 

"Well, you see, we had had her plajinj 
roles where she wore boys' clothes 
and slicked her hair back 
and all that sort of 
thing," I was told. Ai>-- 

"And presently we 
awoke to the fact that that wasn't doing her any good. So 
we took steps." 

"What did you do.?" I was getting more and more 
curious. A recipe like that might prove to be a handy 
thing for any woman to possess some time. 

"We undressed her." 

Dear me! Now wouldn't that be a man's idea of how to 
do it.' I could have thought of that, myself. 

In further proof, an optimistic press agent produced a 
still i>icture of Dorothy in "The Changeling," showing her 






Whether you show your knees 
or don't, according to Dorothy 
Mackaill, has no influence 
upon your physical attrac- 
tion. It's sex of one and half a 
dozen of the other 




« 



By JOAN DARBY 



dancing, clad in a silk hat, one or two 

widely scattered beads and several dozen 

^ bananas. Well, of course, he had me at a 

disadvantage. Being a woman, I wouldn't 

know whether the desired object had been 

achieved or not. There was certainly plenty of 

Dorothy showing. And I wondered whether 

J sex appeal increased proportionately with the 

number of square inches of — ah — skin exposed. 

Further consideration convinced me that that 

could not be. If it were true, the fat girls wouKl 

have all the luck, because of the advantage they 

have of area. And any modern flapper will 

you that the half-pints get all the 

breaks. 

I paused to consider the other sexy gals 
who have had and are having their day in pictures — to say 
nothing of the men. 

There were, of course, Theda Bara and Nita Naldi. 
Buxom lassies, they were, with plenty of acreage, should 
the first theory prove true. But, try as I would, I could 
not remember that I ever saw either of them clad only in a 
pineapple or a few plums. My impression was that they 
had worn yards and yards of black velvet. Yet, some- 
how, those two did contrive to look distinctly undressed 
on the screen. 

So, for that matter, does our Greta Garbo. Sloofy, 
{Continued on page 120) 

59 



By Our Board 





/^^ >^ 




iisft -- f 


L" , Jf^^^ . 





THE JAZZ AGE 

SILENT 'f" which Marceline Day shows Metro-Goldwyn- 
Mayer just the sort of picture they ought to have 
had her in all these years. Marceline steps out as an entirely 
shameless, but altogether attractive red-hot momma, who 
makes much whoopee with Douglas Fairbanks, Jr., but is not 
above rallying around to help him through a tough situation 
at the end of the picture. Doug Fairbanks, the second, is 
better than ever in a Modern Youth characterization which 
rings entirely true. Henry B. Walthall is suitably pathetic as 
Doug's father. For once, here is a note of genuineness in a 
Flaming Youth picture. Neither the point of view of youth 
nor that of age is exaggerated; Lynn Shores has directed it 
with sympathy toward the whole Jazz Age shooting-match 
between parents and their gin-absorbing progeny. 





SQUARE SHOULDERS 

This is an unpretentious honest little picture of the SILENT 
classification "Wholesome," which is not — as some 
people seem to think — a dirty dig. Most of the United States 
likes wholesomeness. Junior Coghlan, as the sturdy, freckled 
son of an Unknown Soldier, longs to go to Military School. A 
dirty tramp (Louis Wolheim) plays benefactor, steals his 
tuition money and gets himself hired as stableman atthe 
academy to watch over the boy who is, as any well-trained 
movie fan will have guessed, his own son. Wolheim's face 
covers a heart of gold — and it is no shame to anyone to be a 
little gulpy over that final scene when Junior plays Taps over 
his "bum." There are three other talented kids in the picture 
besides Junior, golden-haired Anita Louise, Phillipe De Lacey 
and Eric von Stroheim, Junior, a blase re-issue of his papa. 



ALL AT SEA 

SILENT "f y°" '^°^'^ think that titles can make a picture, 
just go and see this Karl Dane-George K. Arthur 
rib-tickler. There's not a dull moment in a carload, prin- 
cipally because of the pen pushers who aided the actors. The 
title puns may not be the highest form of wit but they are 
good for many chuckles. "I'm going to walk the calves of 
your legs into contented cows" — "Love is like a photograph; 
it takes a dark room to develop it," are mere samples. The 
two boys, gobs in our illustrious navy, do their best to live 
up to the titles. They are a bit slap-sticky in places, but 
funny enough to be forgiven for it. Josephine Dunn is pretty 
enough to upset the whole navy. George K. turns female 
impersonator in a few scenes and does some upsetting himself. 
All in all — a pretty good picture. 




BLOCKADE 



Anna Q. Nilsson as a mysterious hi-jacker of the sea SILENT 
comes back to the screen with an excellent per- 
formance, under the expert direction of George B. Seitz, who 
knows his mizzens, his poops and his halyards right down to 
the last topsail. The picture might have been a lot better than 
it is had they not cast two men distinctly resembling each 
other as the hero and villain. Walter McGrail and Wallace 
McDonald both carry a small mustache, both have dark, 
thick curly hair and are of the same height and build. The 
net result is that half way through the picture you are begin- 
ning to wonder who's who and what of it. When you finally 
discover that Walter is a tough egg and Wallace a good- 
hearted bozo, you have to think back all over the picture to 
remember who did what. 




SILENT 



LOOPIXG THE LOOP 

This is Ufa's contribution to the "Laugh, Clo\ 
Laugh" literati 



the quota, must somehow have forced Paramount to loose the 
German efifort upon America's innocent movie-fan bystanders. 
It is inconceivable that the deed should have been done 
voluntarily. Apparently, there was some hazy idea of produc- 
ing another "\'ariet>-." The atmosphere is that of tiie circus. 
And the villain makes a looping "slide for life" in which he 
eventualh- crashes to the sawdust. Onl\- three of the cast 
receive screen credit. Of these but two can mean an\ tliiiig 
to our audiences, although by far the best acting is contril>- 
uted by players of bits. Werner Krauss betra>s the Jartnings 
influence in his characterization of Botto. the woman-ruined 
clown. Jennie Jugo is the heroine who seems a trille nit-wit. 



THIRST 



A good idea gone wrong. Lip to the moment when SILENX 
the titled English visitors to the South African 
diamond mine turn out to be crooks masquerading in their place, 
it looked as though we were going to have that rarest gift of 
cinema gods, an original plot . . . though John Gilbert's knees 
pitilessly exposed by shorts are not his greatest beauty. After 
that, however, we have a curious mixture of comedy and 
tragedy, of unexplained caddishness on the part of Brand, 
the hero, and harrowing, hideous close-ups of the physical 
tortures of thirst which somehow fail to carry conviction. 
Perliaps because the desert over which they stagger looks so 
awfully civilized. Mary Nolan, loo1<ing perfectly beautiful, 
changes from a crook to a girl with a soul in one subtitle. 
Ernest Torrence is alwa\s interesting to watch. 





STRANGE CARGO 

'J' \LKIE ^^^ ^'^'^ ^^^^ °^ ^ murder mystery- picture is plausi- 
bility. It is unfair to the audience to offer a solution 
which could not possibly have been foreseen, and an unknown 
murderer brought in at the last moment for the purpose of 
taking the blame. rMoreover, the explanation of the dis- 
appearance of the yacht's owner, a dissolute English lord, is 
straining credulity to the breaking point. The locale of a boat 
on a moonless ocean is a novel one for a mystery picture, and 
there are plenty of thrills. The dialogue suffers from too 
much tonsil English accent which is very hard to understand 
on the microphone. An unfamiliar cast of imported New York 
stage players seems to offer very little real screen material 
except for Russell Gleason, son of Lucille and Jim, who has a 
winning camera personality and a really fine voice. 



SUNSET PASS 

It was with sentimental regret for a passing era of SILENX 
motion pictures that I watched Paramount's final 
Western, with Jack Holt and his trusty six-shooter. The last 
of the well beloved sombrero'ed heroes who numbered Broncho 
Billyand Bill Hart and a dozen other grim-jawed, hard-ridin', 
straight-shootin', clean-livin' cowboys among them. Jack Holt 
is faithful to all the traditions of Westerns in this picture. 
Oddly enough this typically American type of film introduces 
a young English actor, John Loder, whose good looks and 
something boyish and charming about his personality promise 
popularity. The period of "Sunset Pass" seems to have been 
placed thirty years ago in order to give Nora Lane a chance to 
wear picturesque gowns. If the talkies have driven out the 
Westerns, it is not the least crime they must answer for. 

61 



Current Pictures^Silent 




THE RESCUE 

SILEIVX ^^^ ^'■^^ Ronald Colman starring picture is one of 
those Yes-and-No operas. A refreshingly new type 
of story and setting are much in its favor to begin with; but 
failure to predigest the complicated Joseph Conrad novel 
sufficiently makes the picture difficult to follow. A large num- 
ber of characters with curious Eastern names float in and out 
on various obscure missions, with an efTect that is bewildering. 
Conrad's novel should have been simplified a great deal more 
to make a really forceful, telling movie. However, with the 
scenario given him, Herbert Brenon has done his usual com- 
petent piece of directorial work. He has let well enough alone 
so far as Ronald Colman is concerned, making no attempt to 
vary this actor's quizzically inscrutable performance, and we 
get once again a Colman who always looks as though he were 
going to do something but never does. Lili Damita, whom the 
picture introduces to the American audience, has an entirely 
fascinating personality and appearance. The chief importance 
of this production is that it marks the Damita debut. 




THE SHOPWORN ANGEL 

TiALiKYEi ^" ^P'*^^ °^ ^^^ ^^^^ ^^^^ °"^ ^^^ ^ suspicion that this 
picture was built around sound effects, it has plenty 
of action and a good, though slight, plot. Martial music, the 
shouts of newsboys screaming of bloody battles, and chorus 
girls rehearsing a banal song of love provide excuses for 
synchronization, and Nancy Carroll's singing voice has been 
praised in these columns before. As the tough little Broadway 
chorine kept by a wealthy producer whom the war swept off 
her small, high heeled feet into a real love, Nancy gives a con- 
sistent performance throughout. Gary Cooper, as the incred- 
ibly innocent doughboy who invites a musical comedy star to 
have a raspberry soda, and takes her to see the Statue of 
Liberty and Brooklyn Bridge, is not quite so creditable. Do 
they come that innocent nowadays? The two of them have 
the picture to themselves with the Statue of Liberty as an 
extra girl and the United States Army as atmosphere. Paul 
Lucas who provides the silk cushions and taffeta drapes for 
the chorus girl is more or less of a lay figure. 

62 




MY MAN 

Were Fannie Brice another person, she might be XALKIE 
described as the "feminine Al Jolson." But Fannie 
is Fannie and she needs no other designation. The same 
qualities are apparent in both artists. Because of Fannie, 
"My Man" is heartily recommended to you for an evening of 
unique entertainment. You see and hear all the famous num- 
bers: "Mrs. Cohen at the Beach," "Second-Hand Rose," 
"I'm an Indian," and of course, "My Man." The star's film 
voice retains all its vibrance. The story is utter hokum. The 
virtuous ugly duckling gets her man and all the other things 
which her beautiful, villainous and not so virtuous sister 
endeavors to steal from her. It is a compliment to Edna 
Murphy, who plays the hard-boiled ingrate, to say that the 
audience gets much satisfaction when the long-suffering Fannie 
finally lands a haymaker on her chin. Guinn Williams climbs 
another rung in the ladder of fame in a part which only his 
warm, lovable personality renders at all sympathetic. Guinn 
is the same boy who stole the picture in " Noah's Ark." 




RESTLESS YOUTH 

And still they come! These flirtatious, but virginal SILENT 
heroines who give their boy friends the 'come and 
get me' look — until they do. Then they give 'em the icy 'Sir, 
how dare you!' look. You know the type. The, heretofore, 
demure Marceline Day plays one of these gals. She is expelled 
from college and becomes secretary to a promising lawyer, 
Ralph Forbes. You just know they fall for each other. 
Ralph's dad, the District Attorney, says he will 'break' the 
lad if he weds this immoral woman. To disillusion Ralph, 
Marceline stages a gay scene with an amorous gentleman, and 
is forced to sock him with a bronze statue because he forgot 
they were only fooling. This is an excuse for a well-staged 
courtroom scene, with the hero defending the girl and his 
father prosecuting her for murder. You know the rest, so I 
won't bore you. Christie Cabanne knows his megaphone and 
did well with a much abused plot. Marceline is attractive 
and competent and Robert Ellis sneers in the right places. 
If Ralph Forbes weren't so consciously noble, he'd be tolerable. 



And Sound^I 



n 



Review 




HIS CAPTIVE WOMAN 

^|f r^'p Dorothy Mackaill leaps at her first chance in years 
"" to portray a real person, and walks away from under 

Milton Sills's sturdy nose with the honors of the picture in her 
pocket. As the gold-disgin', gun-totin' night club girl of the 
first part of the story, Dorothy not only shows the fans plenty 
for their money but contributes one of the screen's most note- 
worthy characterizations. An entireh- new angle on the 
familiar desert island romance is presented, but unfortunateK- 
Dorothy discovers along about reel si.x tiiat she has a soul, 
which sort of puts a damper on things. Despite this, tlie pic- 
ture is very much one not to be missed: it is fresh in treat- 
ment and has genuine suspense. George Fitzmaurice did a 
fine job of the direction. It was not his fault that during his 
location trip to the South Seas the sun was an absentee and 
the pictures of the Island Paradise look a good deal like 
London on a foggy day. The titles by Paul Perez are more 
than excellent, and outstanding comedy support comes from 
a talented lady of color. 




THE DRIFTER 

Well, boys, Tom Mix is certainly getting a trifle SILENT 
settled these days, but he still puts up a good show 
of being less, in years, than the dust. In this, his last horse 
opi'ia hut one before going into circuses and European tours, 
In- intrcuiuces an airplane and has considerable fun several 
thousand feet up playing tag with the heavy. Apart from the 
air stuff, wliicii is well done, this is a distinctly novel Western 
story w ith definite suspense to it, and merits the attention of 
an\- open-space fan. Dorothy Dwan looks perfectly nice as 
the heroine. Tom puts up a good, breezy performance, im- 
peded only by tiie fact that he is now rather heavy about the 
chassis. Admirers of him and of the Western as a form of 
entertainment had better get a load of this one, which is near 
the end of the road so far as both are concerned. Perhaps a 
few have already heard about the "talkies," which have 
thrown open-space dramas on the junk-pile for the time being. 
Go see Thomas i\Iix while yet there is time. He is standing on 
the last line of the frontier. 




IN OLD ARIZONA 

YVLKIE ^°^ Films, with the able directorships of Raoul 
Walsh and Irving Cummings and the A-i perform- 
ances of their all-star cast have certainly delivered the goods 
in " In Old Arizona." I don't know when I've seen a better 
picture. I know I've never seen a better talkie. In every way. 
The dialogue, praise be, is intelligent. When it is necessary to 
speak Mexican lingo or Spanish or whatever it is, it is spoken. 
The characters talk like people, people of their time and ilk. 
And not like the silly stilted pens of the new art form. The 
story, adapted from O. Henry's "The Caballero's Way" is 
adapted from O. Henry and not from the pens of meddlesome 
middlemen. With the result that story, plot and most of the 
characterizations are preserved intact. Warner Baxter, 
Edmund Lowe and Dorothy Burgess give star performances 
and no doubt about it. The best test being that you never once 
think of them as Warner Baxter, Ed Lowe and Dorothy Bur- 
gess but only as the people they are playing. The rest of the 
cast is of equal excellence. 




WOLF SONG 

Were it not a fait accompli that Western pictures are TALKIE 
dead, this one would be classified as a great-open- 
space drama. Perhaps this is a South-Western, for the town 
of Taos, in those days a suburb of Santa Fe, is the central 
location. There are trappers and redskins, bowie-knives and 
guns. And Lupe Velez. All of which makes the screen story 
as wild and woolly as any of the out-of-doors operas. 

The thrills begin as the main title is flashed upon the screen. 
For as the various "by-lines" appear, the sound device roars 
the stirring chorus of the "Wolf Song" rendered by the most 
masculine of choruses. In the opening sequences there are a 
few, a very few, spoken words. And aside from these the film's 
claim to be a talker is based upon several songs by Lupe, Gary 
Cooper and others. The most prominent of these, oft re- 
peated, is in the way of being a " hit." It is a haunting Spanish 
melody peculiarly suited to Lupe's voice, which, incidentally 
is pleasantly surprising. The little Mexican is cast in character 
and Gary Cooper is romantic in buckskins of the early frontier. 

63 




furc 



7"HEN H. G. Wells came over to this country a few years 
ago, one of the things he mentioned as being astonish- 
ing and interesting was the number of men wearing 



would never have thought that in the least ex- 
ceptional. They are too used to it to notice it. 

Which is one example of how familiarity is sometimes a 
hindrance to information, of how an outside and unexpert 
viewpoint occasionally will tell us more than a specialized. 

That's why we have instituted this article in our magazine 
— this article which is one of a series of articles under the same 
general title, "Your Neighbor Says." 

We have experts, a large staff of them, covering the news and 
views of that most fascinating of American communities, 
Hollywood. But they are so constantly on the outlook for 
things that they haven't seen before that they naturally 
forget that there are lots of things other people haven't seen 
before — or heard about. 

But with newcomers to Hollywood and visitors, 
it's different. It's all new to them. And in what 
strikes them as unusual, there's quite as much 
news and as fresh news as there is in what impresses 
the experienced reporter. 

That's why we think you'll find this series — and 
particularly this number of it — unusually enter- 
taining. It's a first-impression interview with a 
young man whose impressions are vivid. He's from 
Slichigan — from that much-jested-of town of 
Kalamazoo. If you're from there, too, or from the 
State it's in, you'll particularly want to know what 
a fellow-townsman or fellow-native of the State 
thinks of the place. But even if you're not, you'll 
find it worth while to read what a fellow-new- 
comer or one who, perhaps like yourself, has never 
seen Hollywood before expected to find there — and 
what he actually did find. It's the next-best thing 
to seeing for yourself — indeed, it's practically the 
same thing. — Editor's Note. 



HOLLYWOOD and Kalamazoo have a 
great deal in common. They are 
both towns of which much is said and 
little is known. Take Kalamazoo — 
practically everyone in the country has some pet 
phrase in which Kalamazoo figures as a wise- 
crack. Most of them haven't the faintest concep- 
tion whether it is in the East Indies or just north 
of the Straits of Gibraltar. Less than half of 
them know that it is a town. A prosperous town 



^ Ufourcy\jeighbor 



Dale Owen, Of Kalamazoo, 
Michigan, Was Astonished To 
Find Street Cars In Hollywood. 
He Was Astonished At Several 
Other Sights, Too ^1 

in the heart of Michigan. And incidentally, my 
home town. 
"Since leavmg Michigan on this trip, I have heard 
the place referred to in various ways. Principally as 
the home of the Katzenjammer Kids; and next in a sense 
of being the farthest point from any given point. When- 
ever a long distance is being computed, it is said, 'As far as 
from here to Kalamazoo.' Then there are those folks who 
know Kalamazoo to be the home of the best celery grown 
in the world. These last mentioned few include the entire 
sixty thousand population of Kalamazoo." 

As an ambassador to Hollywood, Dale Owen is rather 
young. His entire little family is young, the youngest 
being exactly one. Even his pretty wife has a hard time 
convincing folks that she is the mother of the one-year-old 
member of the trio. Their trip to the Coast had a two-fold 
purpose: a vacation for a hard-working young fellow and a 
belated honeymoon for the bride. Not to mention the first ; 
cross-country trek for Number One. They are living in a 
cozy bungalow on Vista Del Mar, a location that over- 
looks the entire panorama of Hollywood. But the bride 
■and groom aren't overlooking anything. Not a single de- 




From the city of celery to the city of celluloid journeyed Mr. and Mrs. Dale 

Owen, pictured in the upper comer. Just above is a glimpse of East Main 

Street, in Kalamazoo 



64 



Says!" 



Bv WALTKR RAMSEY 



tail. After I had known them a few days, I could tell 
thev were out to give Hollywood the enthusiastic 
up-and-down. 

STREET CARS, ACTUALLY 
"TF everyone in Kalamazoo," continued Dale, "has 
A the same foregone impression of Hollywood that I 
had, it would probably shock them as much as it did 
me. Why. it isn't any more like I thought it would 
be than Kalamazoo is like the Sunday paper 
cartoons. In my imagined caricature of 
HollyAvood there were no street cars. I 
never had any idea that there were 
any large stores. Or theaters. Or 
banks. Or, in fact, anything that 
wasn't directly connected with 
the moving picture industrj- 
And I think a lot of them 
believe that 



»W|i.i.te| I 



"I visioned the studios 
door-to-door with one 
another all on one long 
street. I had expected 
to find nothing but 



HIGH-LIGHTS 

IN 

DALE OWEN'S 

COMMENT: 

Both Kalamazoo and Hollywood are alike in that 
they are both towns much talked-about and little 
known-about. 

I used to think the actors in Hollywood never ap- 
peared out of make-up. 

My wife, in a beauty shop, was attended by Viola 
Dana's sister. 

The Marquis de la Falaise and I both picked out 
the same kind of neckties. 

There's an air of mystery and excitement in Holly- 
wood that can't be equaled anywhere else. 

I found out what a man can do on thirty-fii 
week in Hollywood. 
.\nd on a hundred. 
.\nd on a thousand. 




In the upper comer: 
the East Avenue 
Bridge.Kalamazoo, 
leading to Detroit; 
below that, the Van 
Deusen Building of 
the State Hospital; 
and, at the right, 
the State Theater 




actors and directors. I would 
see long lines of them stand- 
ing at the studio gates, wait- 
ing for a chance to work. They 
would always be dressed for 
their parts. I never had them 
pictured in regular street clothes. 
The men would all be handsome 
and the women all beautiful and 
charming. Money would flow like 
water. No job would pay any less than a 
few hundred a week. 
"Instead of arriving at this imagined three- 
ring-carnival I had pictured, I found Hollywood 
to . be a typical-looking small town. On second 
thought, it isn't a small town at all; it is a big city within a 
small boundary. It is a cosmopolitan center. There are 
men and women here making fortunes in businesses that 
have no more bearing on the movies than those in Kala- 
mazoo. And yet I still think that the pivot point of Holly- 
wood's prosperity is the picture business. 

"Motion picture names and personalities crop up 
in the most everyday affairs of Hollywood. For in- 
stance, a few days after we arrived, my wife and I 
were looking at newly completed bungalows. Imagine 
ur surprise to find that the whole tract of 
property was owned by Ruth Roland 
whom we had seen so often on the 
screen. And that her real-estate of- 
fices were scattered all over the town 
doing business with Mr. and Mrs. 
Average Citizen. Even the most 
casual transactions are colored with 
the excitement of celebrated names. 
My wife dropped into a beauty shop 
on the Boulevard and was waited 
upon personally by the sister of Viola 
Dana and Shirley Mason. This is the 
particular personal kick that only 
Hollywood can give to business. 
Nowhere else in the world could you 
find a situation of anything like the 
same sort. It is unique. 

{Continued on page I2j) 



65 




fitting 



(:^yn[pparel 



This costume of Gloria Swanson's — for 
"Queen Kelly" — is that, both from the 
standpoint of art and actuality. According 
to the latest edicts of style from Paris, 
Gloria's dress may not be the glass of 
fashion. But none can deny it's the mold 
of form 



1/ / JVere-- 



1^ 



By 



sr.WDisii 




A Man - - Baclanova Would 
Be Burly, Early And 
Appreciative Of Women's 
Clothes 

WHAT would you do if you were a man?" 
The blonde, Russian Baclanova sat opposite 
me, smiling at my query. 

"You mean — about love?" she wanted to 
know, superfluously — what else do we ever mean? 

"Of course." 

"Oh!" She pondered, cupping her chin in a slim hand, 
"^'ou mean — if I could be a man — and could choose — Yes? 

"Well — " slowly, "1 should be strong. Very strong. 1 
do not like weak men. Strong phN-sically and mentally. 
And — I should never show a woman that I loved her too 
much. That is silly. What a woman fears — a little — to 
lose — she values the more. Always. 

"I should not talk too much about myself. Men who do 
that give themselves away so. Even if a man is very clever, 
he should not do that. But then, if he is clever, he won't. 

"I should live very hard. 1 should always be busy. 
Work hard — play hard — I should try to have a great deal 
to do. I should keep myself in good condition — exercise 
and all that. I should be very, very active. And I should 
get up early. 

SNOOZERS TABOO 

I CAN'T bear a man who sleeps later than nine o'clock 
— no matter how late he has been out the night before. 
For a man to go on sleeping in the morning — ugh! No! 
{Continued on page io8) 



Would Go Easy On Baby 
Talk And Heavy On Home- 
Making 

IF I were a woman — If I were a woman ? Gosh !" 
Thus Bill Powell approached the other side of this 
question. The sophisticated William, who plays the 
roue so often and so knowingly in pictures. He 
should know, I thought. 

"There are a lot of small, trite thmgs that I might say," 
he remarked. "Such as — as — that if I were a woman, I 
should try never to let the seams of my stockings be 
crooked. And that I should take a good look at my knees 
before I appeared in public in a very short frock. That I 
should read the halitosis ads and take them seriously. That 
I should never use that wet kind ot lip rouge. You know — 
it smears. That, if I had my hair hennaed or peroxided, I 
should try to have it done clear to the roots. That I 
shouldn't coo or talk baby talk unless 1 looked that way. 
That I should try to have my make-up unobtrusive. 

"There are an infinite number of such things which 
might be said. But they mean so little. 

"From a man's point of view — so often — those things 
matter so little — except, perhaps, subconsciouslj'. 

"But if I were a woman, 1 should try to play the game. 
I should try to learn — to familiarize myself with the basic 
facts of sex and life. I should study men a little and try to 
understand what makes them do the things they do. 1 
should try to comprehend the diflFerence in what the 
relations between the sexes mean to men and to women. 
{Continued on -page Jog) 

67 




Shopping 



with 



Third Of A Series : Showing That 
Easter Parties Are Best When 
The Child Herself Plans Them 



time I'm going to let him take me, because I learned from Gloria 
that even small children may have very definite opinions as to 
what really constitutes a party. 

THE SALES TALK FAILS 

WE went to a candy shop first. The lady who waited upon us offered 
chocolate bunnies, chocolate ducks, chocolate — oh, everything in 
chocolate which comes for Easter. But young lady Gloria shook her head \x\. 
a most decided manner. The saleslady argued and told of the advantages of 
roosters which could be eaten. "I don't care for them." At each new 
candy trinket offered, my shopping companion made the same affirma- 
tion. Oh, to have the disregard-of-necessity buying of the children! No 
inhibitions here that one should buy because someone else is a good 
talker. 

But I was bewildered. Finally she took me by the hand and led me 
aside. "Candy is not good for children. I don't want it in my nests. We 
will have a little on the table to eat after our dinner. But I want things which 
they can keep when they find them." 
I wish I could imitate the slight 
baby lisp which fell from the 
lips of this otherwise very 
grown up person. 

went to the toy 
rooms of a depart- 
ment store several 
blocks distant. We 
walked and Miss 



"]% yfAMMA, may I give an Easter 
\/l party.?" 

I y I How many children are ask- 

ing that question? Just about 
as many as there are in each city. 

Little Gloria Lloyd asked it and Mildred 
Davis Lloyd and Harold gave their per- 
mission. So little Gloria planned her own 
party from the very beginning. 

"An Easter hunt," was her first thought. 
"I had one last year and I loved it. We like 
to hunt for surprises. We don't like to have 
things given to us." 

Now Gloria is only four and a half years 
old but she has very definite ideas upon 
things, like all four-and-a-half-year-old chil- 
dren. She wanted to make her own selec- 
tions and make her own nests and plan her 
own food and — well, do everything for her 
own party. 

I went shopping with her. Or rather, she 
took me shopping. Now usually it is I who 
take my young son shopping, but the next 




for bunnies, she 
wears, as you 
see, in the upper 
corner, a squirrel 
Above is 
nother, 
Mildred Davis 
Lloyd, with 
some of the 
guests at her 
daughter's ice- 
orgy; at 
the left is the 
hostess herself, 
holding a basket 
of Easter eggs 
before she hides 
them 




W! 



Lloyd spoke nary a word. I 
wondered why she was so 
quiet and when I asked her, 
she answered: "But I am 
thinking about things which 
would be different for my 
party." What one of us 
has not walked crowded 
streets hunting for innova- 
tions for our next bridge party 
Yet, we feel we must needs talk 
on and on to our children. 

"I want a big prize for the one who 
finds the first nest. I can't take it myself 
even though I am first, can I.? But I want something 
which I would want if I did find it." 

THE BLUE BUNNY 

E had no more than entered the store when she 
spied a huge blue bunny. "That is the prize." 
Nor did she look farther. She had seen what she wanted 
and that ended the matter. 

Mymindplayed with the thousands of other little children 
who wanted to give Easter parties. How many of them 
would be able to afford such gorgeous big bunnies.^ Very 
few. But why should that bar them from making their 
own selections.' Surely their mothers could steer them 
to those stores which have made Uncle Sam's nickels and 
dimes famous and give them the joy of selections within 
the range of their purses. 

Each article she chose was essentially lasting and sub- 
stantial. Another bunny, smaller, so it would not compete 
with the size of the prize-offering; a duck; two eggs — the 
kind which open up and have space for candies. "We can 
put real eggs which are colored in these if Mother does 
not wish me to have candy," she explained as 
she ordered. A rooster on wheels. When she 
had six, she stopped, "How many have 
I .'" she inquired. "Six," I answered. 
"That IS enough. I will have 
six. \Mien you have more, 
rhmgs might happen. 
-Many children are not 
SO much fun. Do you 
think so.' And my 
mother says big par- 
ties cost too much 
money." 

I smiled. Per- 
haps it would be 
wise if children 
with less were 



At the left is Gloria's table before the 
guests arrived; and above, after. 
Below, the end of a hare-raising chase 
of a very sly rabbit. From left to 
right are: Mr. Bunny, Gloria, Nancy 
Brown, Joan Williams, June Millard, 
Amy Jarvis and Nancy Payne 



^ht to think of this angle; i 



for( 



:\se trammg tor everv clii 



lild. 




PRESENTS FOR THE ABSENT 

"T WANT things like that for the table. I want big 
X things so when the party is over I can take 
them and send them to the hospital for the poor children. 
Then some children who were not invited can have 
bunnies." 

Again the ten cent store flashed through my mind. 
Wiat difference whether these things cost five dollars or 
five cents? How many children, in lesser circumstances, 
would have insisted upon two-of-a-kind gifts to remember 
the little outsiders rather than the guests.'' One present 
for each child, the one found in the nest, and that was 
all she would give them. The things on the table were 
for those less fortunate of whom she has evidently been 
trained to think since she was in the cradle. 

And since the variety was not great in the big bunnies 
and duckies, she just decided to take two of evervthing 
she had already chosen. I tried to suggest that this 
would make a repetition and the 
table decorations would be the 
same as the nest prizes. But 
she shook her head. She 
wanted two, so those other 
children would have exactly 
what they were having. 

"Gloria, will you give a 

party for me now and use 

these things before Easter so 

I can put it in the paper.?" 

She looked at me a 

moment, then burst 

into smiles. "That 

will give me a chance 

to have two 

{Continued on 

page 126) 

69 







J^j^ Bringing Out 

jp^^^^ .^^HbHESr, ^^ ^ ^^^- Daughter is sure to be quite haughty in front of the old man. 

Of course, it is quite inevitable that in time the professional pa will become 
snooty and choosey. He won't be a pa for less than so-and-so. Or he will 
want to live abroad. So daughter will sigh and let him have his way. After 
all, she'll reflect, a pa emeritus is better than no pa at all. 

I suppose that the reason pas have been neglected so long is 

because mas are so much more adaptable. Mamma can put on 

a Paris gown right over her fifty-cent undies and at once look 

to the manner born. While papas have an irritating way — as 

in case of one star's father, who used to be a street car con- 

' ictor — of clinging to the shirt sleeves, and of continuing 

at the table the time-honored custom of exalting the knife 

above the fork. 

It is rather surprising, too, how fathers can 
sometimes resurrect themselves, after years, once 
daughter is successful. 

"Father, dear father, come home with me 
now," is changing to "Daughter, dear 
daughter, come home with the dough!" 



By 
GRACE KINGSLEY 




" 1 '^ UT where is papa?" I de- 

1—^ manded, looking at the 

I ^ blank space next to 
mamma. 

We were looking at the star's family 
album. 

Mamma was there in the full splendor of 
sleeves, a purse on a chain at the belt, and 
pompadour. 

But papa was among those absent. 

Mother's Day, you have probably realized, was a 
great institution in Hollywood, but Father's Day was a 
complete wash-out. 

But all this is changing. Because now a professional 
tocracy is growing up in filmland. And a father is a necessary 
ornament to hang on a family tree. 

Family trees are being planted right and left these days in what 
it is hoped will prove to be ancestral estates. And how can you have 
an ancestry without an ancestor? Therefore daddies of all kinds, 
whiskered and clean shaven, light and dark, grave and gay, are being trotted 
out and dusted oflf, often bewildered and blinking in the sudden white light of 
publicity. 

And when I say daddies, I mean, of course, fathers. "Follies" girls may have 
daddies, but a picture girl has a father. And the way things look now, Holly- 
wood will soon be as full of pas as it is of mas. 

HIGH-PRICED PAPAS _ 

WITH what eagerness indeed fathers are now being rescued from oblivion. Take '^ 

the case of a recent pa, who died after living an entirely obscure life — some say as 
gate-man in the very studio where his haughty daughter worked — who was given a perfectly 
grand funeral just in the nick of time to preserve him to posterity. 

Why, so great is the run on pas that I shouldn't be a bit surprised to see professional pas being 
adopted instead of mas. 

Can't you imagine the man who cooks flapjacks in the 
window of the little cafe at the corner putting on his best 
suit, preening himself at the mirror, and imagining that he 
looks like Billie Dove? 

Just fancy one of these professional pas sitting humbly, 
twirling his hat, while he waits in the ante-room of the 
home where he is to become a father? But the pains will 

70 



WHEN PARENTS BLOOM 

SUCH fond papas usually 
bloom out suddenly as their 
daughter's business managers — 
when mamma will let them. 
It used to be in the old days 
that if you 
heard that a 
picture star's 
father was 
in Holly- 
wood, you'd 
scout around 
to get a look 
h i 




^ at him. 
,>X^ But, alas 



From the upper left corner and across: 
Oscar Miller, Patsy Ruth's father; Mary 
Philbin's; Alexander B. Hamilton, NTeil's; 
Pat O'Malley's; Rex Ingram's; and Christo- 
pher Murray, James's. From the lower corner, up 
father; B. H. Rogers, Buddy's; Judge Bernard 
Davies's father; Ben Lyon, Sr., Ben's; Mae Busch': 
Dolores Del Rio's 




June Marlowe's 
Douras, Marion 
; and, in the hat, 



Father 



Hollywood's Family 
Albums Now Include 
Pictures of Pop 



1 somewhere, 



seldom did you rtnd him. "^ ou'd hope to sort of sneak up on hi 
but when you arrived, he would have vanished. 

Once in those old days I did meet a film papa face to face. He was a nn 
looking man with good manners. But when I asked him about his famoi 
daughter, he merely gave me a dark look and fled. 

And what awful slip-ups were made in those old days. For instance, 
one film mamma I knew divorced her husband after daughter became 
famous — and then what did the old man do but go and inherit a 
a fortune! 

Ah, yes, how the poor pa used to be neglected. To be sure. 

Xo wonder the kidders razzed him unmercifully — told how, 
while Trotty Van Socks was riding around in her Rolls- 
Royce and cultivating an English accent, her poor 
old dad was still down in Texas, gee-hawang the 
mules over the family farm. Or how, w-hile Mary 
Monkeyshines, the famous comedienne, was 
telling the first butler to tell the second butler to 
lay off speaking to her when he met her on the 
street, her papa was somewhere in- 
quiring solicitously, "Close shave, 
sir?" Or of how, while daughter 
was having her dainty toenails 
manicured, pa was still dirty- 
ing himself all up, heaving coal 
down on the Rio Grande. 

But as I was saying, pas 
are now de rigu 
and one may as w 
let you in on then 

SOME ARE RICH 

RICH man. 
. Some of 
them are 
to be sure 




; 






ke Sue Carol's 

who is a finan- 

r in Chicago. 

*oor man. 

Well, of course. 

Then daughter sets 

him up in business, 

these days, like Clara 

Bow, who has given 

her dad a dry-cleaning 

establishment and a cafe or 

two to play with. 

Beggar man, thief. 

There may be some of these, 

but honestly I haven't heard of 

any. 

Doctor, lawyer, merchant, chief. 

Ah, despite the great indoor sport 

of razzing the pas, there are a good many of 

these. 

Let's see. 

Bebe Daniels' father is a physician. He lives 

in Michigan. He and Bebe's mother have long 

been separated, and when Bebe's parents decided to 

live apart, Bebe's mother went back on the stage, and Bebe's 

first role was played as an infant in long clothes, when she 

was carried onto the stage. 

If you have come in contact with Vilma Banky, you have 
probably le§/ned that she is a great diplomat. That faculty she 
inherited from her father, who was a government official in Budapest, 
ungary, for many years. 
Esther Ralston comes honestly by her acting talent, for her father is an 
actor and stage director. The whole family — brothers, sisters and parents — 
appeared on the stage together. Her father has retired. 
Just enter into an argument with Louise Brooks and you'll see what 
you'll get. Her dad is a lawyer in Wichita, Kansas; and Louise inherits his 
cleverness at arguing. 

AN ASBESTOS BARON 

COLLEEN MOORE'S father is interested in mines nowadays, owning some 
asbestos holdings in Arizona. Baclanova's father died during the first 
hectic days of Soviet Russia, and she has inherited his banking interests, what 
there is left of them. Ruth Taylor's father manages a string of shoe stores in Los 
Angeles. Lois Wilson's father was an insurance agent when Lois went into pictures. Patsy Ruth 
Miller's father is her business manager, and is also manager of large business interests of his own. 
Betty Bronson's father w^as a traveling salesman, selling 
pianos, but evidently was more artist than salesman, for 
while he was an excellent musician, he died leaving his 
family little to live on. 

The father of Louise Fazenda was a grain broker, and 
just at present he is traveling around the world, the 
journey being the gift of his daughter. 

{Continued on page 122) 



■ upper right corner and across: 
Charles R. Morrison, Colleen Moore's 
father; Clara Bow's; King Vidor's; Clarence 
^ n's; Clayton D. Heermance, June 
Collyer's father; and A. K. Wilson, Lois's. From the lower corner 
and up: Mr. Edward J. Zadley, Leatrice Joy's father; Rudolph 
Schildkraut, Joseph's; May McAvoy's; A. S. Cronk, Claire Wind- 
sor's; Charles Ray's, and Betty Compson's 



71 




They've just moved to Hollywood from the variety 
stage, have Skeets Gallagher, on the left, and Jack 
Oakie. The talkies are responsible, and the boys are 
making gay where the sun shines. These poses show 
them rendering Grieg's biggest wow: "Strolling through 
the park one day. In the merry, merry month of May" 



T 



WO 




ers 



Photo by Hommel 





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Joan Crawford, fascinat- 
ing Metro -Goldwyn- Mayer 
star, finds Lux Toilet Soap 
delightful both in this lovely 
bathroom and in her special 
dressing room on location. 

7 HAVE tried innumerable 
French soaps, but never 
have I found anything like 
Lux Toilet Soap for keeping 
myskinfresh andsmooth.And 
'studio skin is the all-im- 
portant asset for the star who 
must face into the glaring 
lights of the close-up." 




When a close-up is being taken, Joan 
Crawford meets the brilliancy of the 
new incandescent "sun-spot "lights with 
perfect self-confidence — because her 
skin is kept beautifully smooth with 
Lux Toilet Soap. 



"Without smooth skin no girl 

can be lovely ^'''^ say 
39 leading Hollywood Directors 

VELVETY SKIN is the most precious charm 
a girl can have. All Hollywood agrees on this. 
"People open their hearts instantly to the love- 
liness of exquisite skin. Every star knows how 
essential beautiful smooth skin is," says Edward 
Sedgwick, Metro-Goldwyn-Mayer, voicing the 
opinion of leading directors. 

Lux To i 1 e t 



racing the 
cruelest test a skin can meet 



How WELL they know that the 
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—the lovely girls whose beauty stirs 
a million hearts ever>' time they ap- 
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For there is something about lovely 
skin that sends a ripple of emotion 
through every heart. And for the 
screen star, skin as smooth as a 
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The huge new incandescent "sun- 
spot" lights pour down on a star's 



9 out of lO 
screen stars use Lux Toilet Soap 

face and shoulders and arms when a 
close-up is being taken, and film 
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would inevitably register every tini- 
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Consequently, of the 451 impor- 
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next time you see your favorite screen 
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And all the great film studios have 
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Ivj'. i-^r Fazenda, Warner Brothers' star, in rlie Hollywood bat 
which sets off her charm so well. "I used to use the fine French soaps but 
now I find that Lux Toilet Soap gives the same beautiful smoothness to 
my skin. I am devoted to it." 



o a p 



Luxury suck as you have found only in French soaps 
at 50^ and 31-00 the cake— now 



lO 



I 




t's A Greet Game 



The Stars Send Christmas Cards 
Chiefly To Those They Don't Know 

By CEDRIC BELFRAGE 



THE true, beautiful spirit of Hollywood comes out at Christmas 
time, when those superlatively good-hearted folk, the stars, send 
elaborate, expensive and enormous greeting cards out to all and 
sundry, including all sorts of people that they have never met and 
hope they never will. 

Anybody happening to be in the position of writing about the movie 
colony in magazines or newspapers is fairly snowed under by the most 
gushing good wishes for Happy Christmas and Jolly New Year from all 
the screen celebrities. The unfortunate gentleman who delivers mail 
to the office of Motion Picture literally staggers under the terrific 
load of distinguished Christmas cards. A survey of the cards re- 
ceived at the office, made last year shortly after that Jovial Yuletide 
which the stars so heartily insisted on our having, revealed that 
slightly over forty per cent of them were from people whom the 
recipients had never met. This shows that our Hollywood residents 
who clap hands for the beneficence of the place are entirely justified 
in so doing. There isn't another community in the world where 
people send engraved Christmas greetings to perfect strangers. 

Robert Sherwood, a cynical-minded chap away oflFin New York 
City, came out this year with the suggestion that the stars' 
Christmas cards were not even sent by the stars themselves, but 
by their press-agents. In other words, that the noble citizenry of 
Hollywood was actually using the anniversary of Christ's birth 
for purposes of publicity. He based this amazing and, of course, 
utterly unwarranted, accusation on the fact that he had re- 
ceived from one star, whom he had consistently panned in his 
ith the inscription: 
"The Age-Old Yuletide Spirit 
Inspires me to send 
My wishes for your Happiness 
And Health and Wealth, Old Friend." 
Of course, the trouble with Mr. Sherwood, and a lot of 
those other hard, soulless city guys who review pictures, 
is that they have never been to Loveh' Hollywood and 
just don't know to what 




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EVERYBODY knows r 
Twain's famous story 
I about a modern man sud- 
denly transported back to 
mediaeval days, in "A Connecticut 
Yankee at King Arthur's Court." This 
is the converse of that tale. It is of a 
knight that might have been of Arthur's 
court transported from days of tournaments 
and round tables to live his life in modern times. Archer 

There is something about Joseph Schildkraut that takes 
you back along the road to yesterday. He belongs to the 
days of Romance and Adventure. To days of jousts and 
flashing blades, when knights were bold, and hearts beat 
high and hot for conquest and fair lady! Never a pure 
white Galahad in search of a Holy Grail, but one aflame, 
tempestuous, lawless. A pagan knight sweeping every- 
thing before him ! 

Perhaps it is the chaotic blending of four old world 
races that weaves a spell about him. The fire and romance 
of Spain is in his blood, the exotic mystery of Turkey, the 
haunting music of the Hungarian gypsy, the untamed 
freedom of Roumania's impenetrable forests. But what- 
ever it is, set him in a Moorish castle, make him an Orien- 
tal prince, surround him with plots and intrigues, give him 
the picturesque, the unusual, the magnificent gesture. 
And he need not act. He will be natural, at home! 



HE JUST DOESN T BELONG 

HE was Lilioni, the character he made 
famous on the stage a few years ago. Swag- 
gering, bewildering. Leaving his audience not know- 
ing whether to laugh or cry, at the end. 

He zvas the eerie and fantastic Peer Gynt. 



i\ NlediavaJ 

Modern 

Joseph Schildkraut Will 
Never Be Properly Dressed 
Until He Wears A Castle 

By DOROTHY BAY 



He was the fiery, romantic Cellini in "The 
Firebrand." And he was living the part of 
Judas, two thousand years ago, in "The 
King of Kings." But put him in a regulation 
social drama, in a setting of everyday 
clothes, Main Street situations, Babbiit 
emotions, and he is like Sa?nson with his 
locks shorn. He doesn't belong. 
The picture that brought him to the screen 
is the story of Joseph Schildkraut. In "The 
? Road to Yesterday" he was the spirit of those 
mediaeval days. He played a part in the modern 
sequences, but he seemed always to have be- 
longed to the days that told the story in the past. 
He was that handsome young Count. The pagan 
knight of drawn dagger and adventure! 
In real life, his castle is a gray 
stucco house at the end of a 
Hollywood street. One side 



looks out on tapestry hills. 
The other, down on a rain- 
bow garden of pansy beds 
splashed with California 
poppies; and across the 
rooftops of Los Angeles, 
stretching like minia- 
tute movie sets to the 
blue horizon. 



INSTEAD of 
blazoned 
armor and lance, 
he wears flannel 

(Continued on 
page I2i) 



.#^11 





-T ^ 

T/ILKI^ 

Starring Ann Pennington and Frances 
Williams of George White's Scandals 



Ann is brunette, and Frances is blonde — but 
see how perfectly Tangee does for both! In an 
amazing way, Tangee changes as you put it 
on, from its original color to blush-rose — 
Nature's own shade— and blends with each 
individual type of beauty. Truly a marvel- 
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Demand Tangee today! One lipstick and 
rouge for all complexions. On sale every- 
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Compact 75p.Tangee Crcme Rouge 81. Also, 
Tangee Face Powder, clinging, temptingly 
perfumed, 31. Tangee Night Cream $1. 
Tangee Day Cream $1 .Twenty-five cents 
" Canada. If the name TANGEE 
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is not TANGEE. 



I^IN^^^ 





Gary Cooper seems to 
be giving his fans a look 
of gratitude for their 
efforts in securing for 
him second place this 
month. The girls sure 
are for Gary 



ABOUT PICTURES AND THE PEOPLE IN THEM 

r Man will tell any one who wants to know anything, everything there ; 



know. In his 
he couldn't u 
space permit; 

yourself. TK, „__ 
New York City. 



who wants to know a _ „, 

, -ars of fighting question marks, there's _ _ 

s to any questions will be printed in MOTION PICTURE, if 
:, he'll reply by personal letter directly. When you w-*- =- 



a the letter and e; 



_ mped envelope addressed to 

re. Paramount Building, 1501 Broadway, 



Would you say this was 
"The Awakening" of 
Vilma Banky's fans ? 
They have at last 
learned what to do if 
they want their favorite 
to adorn this page 



ELSIE — Is it wrong to bet on horses? 
Yes, the way some people do it. Alice 
White is about nineteen years old. She is 
not married. I can supply you with their 
photos. Laura La Plante was born Nov. i, 
1904. She receives her fan mail at the 
Universal Studios, Universal City, Cal. 
Eddie Quillan was born in Philadelphia, Pa., 
March 31, 1907. Received his education at 
Saint Gabriel's School in South Philadelphia, 
later finishing at Mount Carmel. He has 
four brothers and five sisters. Write him 
Pathe Studios, Culver City, Cal. 

A VIKING — Greta Nissan was born in 
Oslo, Norway. She is five feet two, weighs 
120 pounds, has blonde hair and blue eyes. 
She is playing on the stage right now. 
Jeanette LofT in Idaho. She is five feet two, 
weighs 105 pounds, golden hair and blue 
eyes. Thanks for the greetings. 

MARDI — The picture you are referring 
to is Vera Reynolds. Donald Keith was 
born in Boston, Mass., twenty-six years ago. 
He is five feet eleven, weighs 155 pounds, 
has light brown hair and blue eyes. Real 
name Francis Feeney, married to Kathryn 
Stickuzza. Donald Reed, Mexico City, July 
23, 1902. Six feet tall, weighs 160 pounds, 
dark hair and eyes. Real name Ernesto 
Guilleon, married, and has a son. Write 
Richard Arlen at Paramount Studios, 5451 
Marathon St., Hollywood, Cal. 

COLLEEN — Colleen Moore was born in 
Port Huron, Mich. , Aug. 8, 
1902. David Lee is about 
four years old. His brother 
Frankie Lee, no doubt you 
remember him, played as 
the child in Lon Chaney's 
"Miracle Man" a few 
years ago. You will see 
Davcy next in his first 
st arring role in ' 'Sonny 
Boy" ; receives his fan mail 
at the Warner Brothers 
Studios, 5842 Sunset 
Blvd., Hollywood, Cal. 
Yes, I believe in tjie short 
time he has played, the 
mail man has quite a time 
bringing in his fan letters. 




"Our Modern Maiden" — what more 
befitting title could be given to a 
picture starring Joan Crawford? Her 
mail has increased in leaps and bounds 
and she wins highest honors this month 

schools of New York and Long Island City, 
and in the American Academy at Pough- 
keepsie. He made his first appearance in 
one of Art Acord's western productions 
filmed at Universal City. He is five feet 
ten inches tall, weighs 166 pounds, has 



brown hair and eyes. Joan Crawford hails 
from San Antonio, Texas, March 23, 1906, 
blonde hair right now and blue eyes. Real 
name Lucille Le Sueur. Send me a-self-ad- 
dressed en\'elope for the other biographies. 

SEEN ARE— Sounds strange. Fred 
Thomson died Christmas Eve. Theodore 
Roberts, Arnold Kent, Larry Semon and 
Ted McNamara died last year. Ralph was 
born Jan. 23, 1900. Write him at Warner 
Brothers Studios, 5842 Sunset Blvd., 
Hollywood, Cal. Gilbert Roland, who 
played in "Ramona", will play opposite 
Dolores Del Rio in "Evangeline." This 
picture was made a few years ago, with 
Miriam Cooper and Albert Roscoe as 
Evangeline and Gabriel. Paul Weigel was 
Father Felician. 

KITTY— Send your note to Rex Bell at 
the Fox Studios, 1401 No. Western Ave., 
Los Angeles, Cal. He was born in Chicago, 
111., twenty-two years ago. He is six feet tall, 
weighs 165 pounds, blond curly hair and 
blue eyes. Real name George Beldan. Anna 
May Wong is in Germany. Nora Lane is 
playing in "Son of Anak," starring George 
O'Brien. Ernest Torrence, Lili Damita, 
Henry B. Walthall, Raquel Torres and 
Jane Winton have been added to "The 
Bridge of San Luis Rey," Metro-Goldwyn 
Studios, Culver City, Cal. 



GERT — Richard 




A YORKEVILLE 
BLONDE — Blondes are 
as bad as redheads, they're 
scattered all over the uni- 
verse. Matty Kemp was 
born in New York City, 
Sept. 10, 1907, and was 
educated in the public 



This smiling youth who 
is working in "Close 
Harmony" with Nancy 
Carroll seems to have 
earned a permanent 
place on this page. Yes, 
he's our "Buddy" 
Rogers 



"The Man and the 
Moment" and what a 
moment for any man 
when the woman is 
Billie Dove. Miss Dove's 
admirers insist she mer- 
its a place on this page 
and we agree 



Because he's tall, dark 
and handsome and be- 
cause Nils Asther is dan- 
gerously fascinating, 
that's why his pictures 
are so popular. He's the 
answer to why girls go 
to the movies 



Dix's real name is 
e is playing in "Noth- 
ing but the Truth," which 
is a talkie. He is not 
married or engaged. 
William Boyd in "The 
Flying Fool," Pathe 
Studios, Cuher City, Cal. 
\es, I think he would 
send you his wife's photo. 
The ' only way of catch- 
ing a train I ever dis- 
covered is to miss the 
train before. Charles Ftir- 
rell and Janet Gaynor are 
appearing again together 
in "Blue Skies." 

ELEANOR GOR- 
DON— Buddy Rogers 
had interviews in the 
May 1926 Motion 
Picture. Aug. 1928- 
Nov. 1928 Classic. Write 
our circulation depart- 
ment in regard to these 
back issues. Glenn Tryon, 
Myrna Kennedy and 
( Continued on page 124) 



dAs told to 

Princess EvT 

by 

10,000 Men 

'^^ Women Use 
Too Much Kouge'' 



THE MEN, poor 
dears, are not 
quite correct. They 
I judge hy appear- 
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I they really protest 
lis the * 'painted 
I look" — and "too 
I much rouge" is not 
I really a question of 
■ quantity. It is a 
matter of kind; for even the tiniest bit 
of usual rouge does look unreal. 





Women have startling proof of differ- 
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Junior Coghlan Has Broken 
Up r^^ Many Homes 




By 
DONALD CALHOUN 



JUNIOR COGHLAN w 
quite gloomy at the 
thought of being inter- 
viewed. I had to tell 
him about my going to New 
York and North Africa and 
those places to get him 
out of his sad state of 
mind. I also showed him 
how I could wiggle my 
ears which made him want 
to show off his talents so he 
illustrated how he could spit 
through his teeth which he 
can do pretty good be- 
cause they are quite wide 
apart. 

He had along with 
him four boy friends 
from the East who 
were full of questions 
like this, "Say, Junior, 
was that real tobacco 
juice you spit in the 
'Yankee Clipper'.?" 

Junior said, "No, but 
it could have been." 

They also asked him if he 
had had to eat real castor oil 
in "The Country Doctor." Junior 
said it had been. He said an actor 
had to suffer for his art, and 
that one of his most painful 
sufferings was his long hair. 
He gets razzed about it in 
school many a time. Even 
the kids at the athaletic club 
made fun of his hair. They 
called him a pretty movie 
star and asked him if he 
was going to get a boyish 
bob soon. 

Junior declared that he 
was quite tough and boast- 
ed that "he had broaken up 
more homes than any of 
them had." Did he use a hatchet, or what.? 

After that there was a big towel fight. We were in the 
locker room getting ready to go into the pool. The kids 
made so much noise the negro valet came hurrying up 

82 



Junior Coghlan, at the top and at the right in the two 
lower pictures, gets parts because he can cry swell, says 
Donald Calhoun, at the left in the bottom photograph. 
His success, if Louis Wolheim's expression is expressive, 
was not won by playing the bugle 



He's A Movie 
Star, But At 
School He's 
Only A Scrub 
And A Garbage 
Man 

demanding to know "what 
was coming off in here." 

JUNIOR TELLS HIM 

JUNIOR yelled out, "My 
B. V. D.'s." I'm not re- 
sponsible for that wise 
crack. 

Junior is a member of the 
athaletic club himself and 
he pretty near uses it 
to death. He got the 
membership as a 
Christmas present 
from his dad. He's 
such a strenuous 
athalete that he 
goes through about 
every athaletic 
suit he has. When 
we were swimming 
some men from the 
studio wanted to take 
some pictures of us, and 
Junior had to borrow a suit to 
be photographed in because his 
had holes in the wrong places. 
He didn't want to be photo- 
graphed because he wasn't 
supposed to be working to- 
day and he said that was 
work. But finally they got 
him to stay still for his picture 
I the promise that he could 
have an extra swim that afternoon. 
I found out that he and his four 
friends had already had three swims 
that morning. They must have been 
pretty near water-logged. 

When he isn't working in pictures 

Junior goes to Le Conte Junior High 

School where I go. 

At school he is not a movie star. He is only a scrub. 

All the seniors snub him like any other scrub. When he 

first came to school they made him get on his knees and 

{Continued on page no) 



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Four v^ 



erses 



By 



THE DEBT UNPAID 

I can't believe that all there's to life 

Is the short span of things here below. 

There's so much to be done, and life's hardly begun 
When the trumpet sounds and we go. 

For time is so short, and it flies on swift wings, 
And before we quite make up our minds 

To what it's about, the candle's blown out 
And God draws the curtain and blinds. 

So when we pass on to the next stopping place, 
(And who can say where it will be.?) 

The debt's left unpaid and love left unmade 
Will be dealt out to you and to me. 



AS YOU GO ON YOUR WAY A-SMILING 

When you hear what you think is the 
throb of the train. 
It's the beats of my heart that's cry- 
ing with pain. 

As you go on your way a-smiling! 

When you hear what you think is a bird's 

cry in fright. 
It's my voice that I've sent to call 

you at night, 
As you go on your way a-smiling! 

When you see what you see, what you 

think is rain in the sky. 
It's tears hanging heavy, unshed in 

my eye, 
As you go on your way a-smiling! 

84 




Carmel Myers 



She Has, Like Doris Kenyon 

And Joan Crawford, Taken 

lOut A Poetic License 

BECAUSE YOU LOVE ME, DEAR 

What is that moaning — moaning 

That's ringing in my ears.'' 
Why, that's my soul that's groaning 

For all these empty years. 

What is that sighing — sighing 

That wells within mj- breast? 

Why, that's my heart that's crying 
For you — and peace — and rest. 

What is that burning — burning 

That sets my cheeks aflame.'' 
Why, that's my soul that's yearning 

To hold you close again. 

What is that ringing — ringing 

That I hear both far and near? 

Why, that's my heart that's singing 
Because you love me, dear. 



SHE HAS NOT GONE 

Her smile and radiance is not here to see 

Nor is she here to help us physically; 

But her spirit, her indomitable will, 

Is with us still. 

In trying moments when uncertain, 

Pondering what to do, a voice — her voice- — 

Her "mamma voice" 

Says, "Come, my children, see it through." 

She has not gone. 

True, true, we cannot touch her hair 

Or feel her good-night kiss- warm on our 

Lips as we fall deep 

In sleep 

But still, somehow, I feel she tucks me in 

And says her prayers as I say mine. 

She has not gone. 

This Mother of Mine. 

Carmel woos the muse with all modern 
improvements: a special writing-shelf 
has been affixed to her set-chair. And, 
as these pictures prove, she can compose 
with or without a hat on 



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AA 




C\«^Dp— Authorities at- 
y}y*^, I tribute the enor- 
mous increase in Cigarette 
smoking to the improve- 
ment in the process of Ciga- 
rette manufacture by the ap- 
pUcation of heat. It is true 
that during the year 1928, 
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confidence in the superiority 
of Lucky Strike. 




asted 

n - No Co u gh . 



Hsury Manning says: 

"Meachfir a Luck y insteeid of a sweets 

WHEN I climbed aboard the ^America' after those cold, strenuous hours 
getting the men off the freighter 'Florida,' there was nothing I wanted so 
much as a Lucky — *By George,' it tasted wonderful! A Lucky is always 
refreshing. My tense nerves relaxed, my aching throat was soothed and the whole 
thrilling adventure just seemed a part of the day's work. As time goes by, and 
I look back to that memorable night, I'll always remember the wonderful taste 
of that welcome Lucky. As I went around to visit the men we'd rescued, I 
found many of them enjoying Luckies, too. We really couldn't wait to get 
back to our ship and 'Luckies.' As an actual fact in returning to the 'America* 
I noticed one of our men-SjS- rowing with one hand and lighting a *Lucky' with 
the other, There*s no flavor to equal toasted tobaccos, and I always prefer 
Lucky Strikes. There's wisdom in the saying: 'Reach for a Lucky instead of 
a sweet.* It helps a man to keep physically fit and we who follow the sea 
must always be prepared for any emergency.*' 





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Rowles Mentho Sulphur. Be sure it's Rowles. 





Has He Really Suffered? 

{Continued from page 48) 



withdraw in great haste in case he glared. 
But he didn't. He looked rather patient and 
resigned. He even smiled a little. Not 
much. But a flicker. 

"Suffered?" he repeated, shaking his 
head. "I hardly think so. Not real suffer- 
ing. I am only twenty-seven, you see. 

"Youth doesn't suffer. Not really. It 
thinks it does. But it isn't capable of real 
suffering." He lapsed into silence again. 

After some moments he lifted his head. 
"Youth sometimes thinks it suffers when it 
falls in love," he remarked. 

There was another silence. The conversa- 
tion proceeded like that. A brief remark or 
two and then a long silence before the next 
one. You get used to it. 

After this silence he admitted, "I have 



been 



1 love. 



A long pause and then I murmured, " Did 
you suffer?" 

He nodded. "Sometimes. But not for 
long. Not more than a month or two." 

HE WONDERS IF HE HAS 

THERE was a nice breeze and a warm 
sun and I was getting a little sleepy. So 
I jumped when he finally said, "I wonder 
now whether I have ever been in love — 
really." 

I might as well sit still and wait, I con- 
cluded. The conversation couldn't exactly 
be called animated, but what there was of 
it seemed to be approaching some sort of 
answer to my question. I nearly missed the 
next one — his voice was so low. 

"I'm not going to fall in love," he was 
muttering. "It — it hurts. That's why I'm 
—fickle— now." 

"Then you have suffered!" I was quite 
triumphant. 

"Mmmm." He nodded again, slowly. 
"I'm so self-conscious!" he added, irrele- 
vantly. I could see that. 

"There was a time," he went on, "the 
time when I was going to play in 'Children 
of Divorce.' I had had only two real parts 
before that. The one in "The Winning of 



Barbara Worth' and a bit in 'Wings.' I was 
scared. All the cast were experienced troup- 
ers. I worked two days and then they called 
me in and told me they guessed I wasn't 
quite ready to handle that part. 

"That hurt. I went away — into the hills 
— alone. Meanwhile they had seen the 
rushes of the third day and they decided I 
could do it. They couldn't find me. I came 
into town and went into Henri's to get 
something to eat. I was starving. Frank 
Lloyd saw me and rushed over. 

" 'Gary!' he cried. 'We've been hunting 
everywhere for you! We're holding up the 
picture. We're going to use you.' 

HIS LONGEST STRETCH 

I HAD the funniest feeling — something 
inside of me changed. I didn't know 
until that moment how much that thing 
had hurt!" 

He smoked a while in silence and then he 
said, looking straight ahead of him, "But 
it is love — really — that makes you suffer." 

In a surprising little burst of confidence, 
he went on, "I did suffer once — for five 
months. You know — that business of 
doubt — of knowing something is wrong and 
not being able to put your finger on it. That 
awful business of going to bed and not being 
able to sleep — of getting up in the morning 
and wishing you need never wake to face 
another day — of that. I would go to see her 
and try to find out what it was — between us. 
There would be explanations and protests. 
My mind would be set at ease. Then two or 
three days later — something would happen. 
It would begin all over again. Not to be 
able to trust the one you love — it's hell! 

"Then one day I found I couldn't suffer 
any more. It was over — done with. So I 
went and said so. 

"What I want from love is — security. I 
want to be sure. People say men are natur- 
ally polygamists. I think that is not true. 
It isn't true of me. If I am in love, I want 
just one woman. But I want her wholly. 

"I don't know whether I shall ever be 



,iMo to marry in HolhAvood. Life isn't nor- 
mal. People do not have a normal chaiuc 
to be honest and — and sincere. You know. 
"You can be regular. But it takes a lot 
of trying. Sometimes I think it might be 
easier — and the happier way — to be just a 
hard-boiled bachelor — taking things as they 
come and not caring. It's all right unless 
\ou fall in love. When you're in love, 
you're so helpless. 

you've got to be strong 

I'D like to think that 1 could marry and 
have a home and live just like Mr. and 
Mrs. Jones in South Bend, Indiana. Have 
your little bit of fame and adulation. But 
not let it make any difference in your life. 
I wonder if it could be done. 

" It's what I want. But you havp. to be 
so strong to do it." 

He rose and paced slowly up and down. 

"Suffered?" he mused. "Maybe. I think 
perhaps that because I don't talk much, 
people get the idea that 1 am sensitive and 
that I suffer in silence. That isn't it. I'm 
Anglo-Saxon. They don't make much noise 
about their hurts. Not often. I am not 
super-sensitive. I am not hurt more easily 
than any other man. Please don't get that 
idea. I have been hurt — yes. Maybe it 
photographs. I don't know." 

' "..iry tries to be honest, I think. Honest 

~t of all with himself. He is making a 
lite effort not to be caught by the tinsel 
li entangles young stars. Not to be 

.-lt.ad nor to lose his solid sense of values. 
1 le seems to weigh every word and to try to 
."-ay what he feels. 

lie has tremendous charm. His slow, 
\\ himsical smile is one of the most attractive 
1 have ever seen. And he has one of the 
rarest attributes in the profession, a sense of 
humor. That will help him, I think, in his 
struggle. 

The girls are right. He has suffered and 
he will suffer more. Looking for sincerity 
.uid trust — in Hollywood. 

Dear me! Here I am languishing, too. 
.•\nd yearning. I'm just a weak woman, 
after all. 




A costume for every occasion, Lois Moran 
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iVly hands too must dance . . /' 

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As Bobby Clark used to say, it don't look like evvything was fah and squah in this gulch; 
and what with the sudden discovery of a card in Dorothy Dwan's sleeve, Tom Mix de- 
clares the next time he plays with her, she's got to wear a bathing suit 

The Love-Life Story of Mary Nolan 

{Continued from page 4s) 



And that comfort eventually turned into 
something which I thought was much deeper. 
Just where this would have ended — what 
woman can tell where her interest in man 
would have ended if fate had not intervened 
and ended it for her? — I do not know. Only 
Joe Schenck saw " My Viennese Lover" and 
signed me to make American pictures. At 
the same time he signed Nils Asther. 

NILS LIKE A BROTHER 

NILS had been my leading man in Ger- 
many. We were pals. We crossed the 
ocean on the same ship. What a break for 
poor Nils! He didn't know anything about 
me. But he soon learned when we landed in 
New York City. IMOGENE WILSON 
ARRIVES FROM EUROPE AS A PIC- 
TURE STAR. SHE BRINGS BACK 
NILS ASTHER. THEY ARE ENGAGED 
TO BE MARRIED— but you read the 
newspapers. 

Poor Nils. He didn't know quite what to 
think of it. Do you know, it is possible for 
a woman to love a man who is not her bro- 
ther just like a brother? Of course, the 
world won't grant that of Imogene Wilson 
or any other well-publicized woman. If I 
tell them that Nils is the kind of a boy whom 
I'd call up in the night and saj', "Nils, I 
have a tummy-ache. Please go and get me 
some pepsin," who would believe it? But 
sometime in her life every woman finds a 
man whom she loves in that manner, and 
Nils Asther was that man to Mary Nolan. 

What a time I had in Hollywood! They 
weren't even going to let me play in pictures. 
Oh, the penalty a woman pays for a name 
which has once screamed across the news- 
papers! But Joseph Schenck told them to 
give me my chance, instructed them to let 
me have one real opportunity. Everyone 
said, "Now be good, Mary. Just lie low 
and be quiet." 

But how can a girl with my name really 
lie low and be quiet? \Mien I was in Europe, 
I never appeared in public with a man but 
that the American newspapers reported it 
in their scandals. In Hollywood — . 

THE DANGER OF LONELINESS 



relaxation. I have been to the Mayfair 
once, the Cocoanut Grove once and two 
openings. But every one of them has been 
properly noted. When I was first at Uni- 
versal I was desperately lonesome. And I 
find that when a woman is lonesome is when 
she is most likely to get into mischief. 
When she is most susceptible to the influ- 
ence of a man who is kind to her. Norman 
Kerry was at Universal. He began being 
kind to me. I appreciated it, liked him for 
it. But his kindness, as things turned out, 
was merely cruelty. It is cruel for a man to 
be kind to a woman when she must spend 
every moment thinking how she can keep 
her name out of the newspapers. I thought 
much of Norman. Every woman finds a 
time in her life when she lets her thoughts 
dwell on the man who is her antidote for 
that gnawing, desperate illness of Ipnesome- 
ness and, yes, self-pity. 

But I had to stop seeing Norman. Holly- 
wood started talking about it. 

And now they're talking about Jack Gil- 
bert. (She laughed. The first normal, 
natural laugh since she had begun talking. 
I laughed with her. Only that morning 
someone had told me that Mary Nolan had 
stolen Jack Gilbert from Greta Garbo.) 

Why I just finished making "Thirst" 
with Jack. No woman could help but love 
him. He is more helpful than the average 
Hollywood director. He has an almost per- 
fect story-mind. He knows the technique of 
the screen as few people know it. We have 
spent hours and hours together talking, 
talking, talking. I think your little Alice 
White struck it about right in her love-life 
story. Jack is the kind of a man that any 
woman loves as a friend. He doesn't need 
to be her lover. Jack would make a great 
director. He is wonderful about helping 
girls who play opposite him. I owe him a 
great deal. ■ Of course, I love him. But not 
as a woman loves a man, not from the 
standpoint of the emotions. You can love 
one man as a brother; you can love another 
as a friend; or you can love with that all- 
consuming desire — . 

WHOM DOES SHE LOVE? 

I AM in love at this moment. Yes, he's in 
the motion picture profession, only I 
can't tell you his name. Why? Because he 



doesn't know that 1 love him. And do you 
think that I am going to break it to him 
through publication? 

And lo\-e is Hel